it; 


A  LACE  GUIDE 

for 

MAKERS  and  COLLECTORS 


A  LACE  GUIDE 

for 

MAKERS  AND  COLLECTORS 

WITH  BIBLIOGRAPHY  AND 
FIVE-LANGUAGE  NOMENCLATURE 

Profusely  illustrated  with  halftone  plates  and  key  designs 

By 

GERTRUDE  WHITING 

Graduated  as  Professor  by  the  Institut  Professional  Neuchatelois  de  Dentelles :  Founder  and 
President  of  the  Needle  and  Bobbin  Club :  Lace  specialist  on  the  Committee 
on  Occupation  of  the  Department  of  Public 
Charities,  New  York  City. 


NEW  YORK 

E.  P.  DUTTON  &  COMPANY 
681  FIFTH  AVENUE 


Copyright  1920 
By  E.  P.  Dutton  &  Company 


All  Rights  Reserved 


Printed  in  the  United  States  of  America 


DEDICATION 


Minnewaska,  New  York,  August  31st,  1917. 

My  Dear  Miss  Burt  : 

Most  of  us  must  put  aside  costly  pleasures  now  that  America  is  fighting  by 
the  side  and  under  the  tutelage  of  the  fine,  old,  lace-making  countries ;  offering 
them  willing  hands,  keen  eyes,  and  much  besides ;  ready  to  succor  and  nurse 
them  until  they  can  again  clothe  fair  lands  with  rich  artistic  skill ;  ready  among 
other  things  to  bring  home  something  of  the  old  world's  mellow  charm,  that  the 
joy  of  beauty  as  well  as  practical  ability  and  high  morale  may  be  instilled  in 
American  boys  and  girls.  America  is  eager  indeed  to  encourage  art ;  that  is,  the 
harmony  of  the  material,  a  link  drawing  the  physical  towards  the  spiritual,  and 
adding  to  the  utilitarian  a  simple  grace,  an  uplifting  charm. 

But  in  spite  of  the  sacrifices  necessary  to  aid  and  save  our  elder  sisters  and 
to  develop  the  best  that  is  in  us,  we  shall  not  have  to  forego  love  and  friendly 
fellowship  and  gratitude.  So  the  costs  of  war  (and  doctors)  cannot  take  from 
me  either  the  pleasure  of  association  with  you  or  gratitude  for  your  freely  given 
afternoons,  helping  me  to  mount  these  illustrations  for  the  printer  when  my 
arms  were  too  lame  to  work,  and  for  your  unselfish  patience  and  encourage- 
ment. Having  unruly  arms  and  other  ailments,  is  truly  worth  while  when  it 
points  the  way  to  generous  hearts  and  kind,  new  friends ! 

Sincerely, 

Gertrude  Whiting. 


To  Miss  Juliet  Burt, 
Cincinnati,  Ohio. 


5 


1 


CONTENTS 


PAGE 

Diageam  of  Samples  In  back  cover  pocket 

Dedication   5 

Chaptek  I — By  Way  of  Introduction   13 

Poem — The  Lace  Maker   19 

Chaptek  II — Suggestions   22 

Chaptee  III — Explanations  and  Nomenclature   35 

NoMENCLATUEE   37 

Chaptee  IV — Eules   69 

Chaptee  V — Bibliography    243 

Index  of  Bobbin  Lace  Grounds  and  Fillings    403 


7 


LIST  OF  ILLUSTRATIONS 


PAGE 


The  Lace  Maker,  by  Pieter  van  den  Bosch   18 

Old  Bobbin  (From  the  Author's  Collection)    21 

Adjustable  Easel-like  Stand  for  Spanish  Lace  Pillow   24 

Long,  Spiral  Spring  in  Place   25 

Showing  Bobbins  Conched  Between  Bands  of  Ribbon   27 

Placing  One  End  of  Skein  Over  the  Left  Thumb   30 

Laying  the  Other  End  of  the  Skein  Around  the  Little  Finger   31 

Bobbins  Can  Be  Easily  and  Quickly  Wound   32 

Old  Rhode  Island  Whale-Ivory,  Reel,  Winder,  or  "Swift"  {From  the 

Author's  Collection)    34 


9 


A  LACE  GUIDE 

for 

MAKERS  and  COLLECTORS 


/ 


V 


CHAPTER  I 


BY  WAY  OF  INTRODUCTION 

"  4 In  time  of  war  prepare  for  peace.'  For  there  will  be  a 

future.  And  in  that  future  there  will  be  emulation,  if  not  rivalry,  among  the 
peoples  of  the  earth.  And  the  victor  's  wreath,  as  well  as  more  substantial  fruits 
will  be  given  to  those  who  can  produce  most  cunningly  the  things  that  peaceful 
people  desire — such  as  chairs,  tables,  beds,  clothing,  utensils,  adornments,  jew- 
elry, and  all  things  of  use  or  ornament  that  make  men  comfortable  and  tend  to 
to  make  them  joyous. 

"Then  .  .  .  the  nations  whose  workers  in  dusty  factories  transform 
earths  into  clumsy  dishes  for  common  use  will  get  ...  a  modest  or  a 
decent  living;  but  the  nations  whose  skilled  artisans,  guided  by  gifted  and  trained 
artists,  turn  those  same  materials  into  forms  of  grace  adorned  with  lines  of 
beauty,  will  receive  fame  and  fortune,  and  set  their  childen's  feet  on  those 
broad  plateaus  where  knowledge  and  power  and  enjoyment  are  to  be  had. ' ' 

— Bulletin  of  the  Metropolitan  Museum  of  Art. 

This  little  manual  is  the  outcome  of  six  summers'  work  under  the  encour- 
agement of  the  lace  director  of  the  Metropolitan  Museum.  Eealization  of  the 
fact  that  in  1912  the  museum  had  few  examples  of  meshes  except  such  as  ap- 
peared in  scattered  bits  throughout  the  delightful  collection  of  berthas,  trains, 
fichus,  et  cetera,  that  it  was  difficult  to  compare  the  effects  of  these  stitches 
worked  in  different  sized  threads,  in  designs  and  spaces  of  varying  forms,  and 
at  different  ends  of  the  rooms,  and  that  the  few  mesh  specimens  the  galleries 
had,  were  more  or  less  scantily  named,  the  suggestion  arose  that  a  comparative, 
indexed  sampler  of  bobbin  lace  grounds  and  fillings  be  made.  It  is  hoped  that 
it  may  prove  of  use  to  students  of  stitchery  in  general, — or  of  bobbin  lace  in 
particular, — to  see  how  certain  meshes  are  woven;  that  it  may  aid  those  planning 
to  produce  lace,  either  by  hand  or  machine,  in  comparing  and  judging  effects, 
in  advance,  and  that  it  may  assist  collectors  and  classifiers  to  identify  lace : 
for  after  all,  it  is  the  actual  stitch  which  finally  determines  a  variety,  only 
certain  meshes  being  used  in  a  lace  of  pure  type.  As  different  authors  and 
localities  use  diverse  names  for  the  same  thing,  several  appelations  have  been 
indicated  for  many  of  the  samples.  The  index  down  the  two  sides  of  the  sampler 
should  be  used  as  one  given  with  a  map :— tracing  down  from  the  number  noted 
at  the  top,  and  inwards  from  the  letter  at  the  side:  the  point  of  junction  showing 
the  lace  in  question. 

At  first  an  attempt  was  made  to  grade  and  assort  the  different  kinds  of 
stitches;  but  this  was  found  impracticable,  for  as  the  work  grew,  meshes  found 
here  and  there,  in  the  country,  in  the  city,  on  a  gown,  in  a  book,  were  incor- 

13 


14 


BY  WAY  OF  INTRODUCTION 


porated.  Nor  were  all  by  any  means  exhausted :  but  some  limit  had  to  be  chosen, 
so  it  was  decided  to  stop  when  an  even  gross  of  samples,  or  a  half-dozen  seasons' 
work  had  been  completed.  The  two  extra  meshes  illustrated  over  and  above 
the  twelve  dozen,  are  the  bobbin-made  bands  which  frame  and  connect  the  whole, 
and  one  little  sample  made  at  the  very  end  for  fun,  partly  because  the  extra 
pattern  was  already  drawn,  and  partly  because  of  a  dislike  to  show  preference 
to  one  little  mite,  consigning  the  other  to  the  waste  paper  basket — though  many 
ought  doubtless  to  be  there. 

Perhaps  a  word  of  explanation  should  be  said  about  the  twenty  Trude 
Grounds.  They  are  fancies  of  the  maker's  imagination,  thrown  in  for  what- 
ever they  may  be  worth;  perhaps  out  of  pique,  just  to  show  that,  rudimentary 
as  they  may  be,  America  has  at  least  the  beginnings  of  an  ability  to  originate 
her  own  lace. 

A.  Penderel  Moody  writes,  "Fillings  should  be  to  the  lace-maker  what  a 
jewel  is  to  the  goldsmith.  The  choice  of  each  for  its  particular  setting  will  call 
for  the  exercise  of  equal  taste  and  discretion.  These  stitches  are  known  as 
' modes, '  or  ' jours,'  in  the  great  outside  world,  of  which  the  village  worker 
knows  so  little  ;  needless  to  say  such  terms  are  unknown  in  the  West  Country, 
where  as  often  as  not,  we  talk  of  them  as  'villins.' 

"The  fillings  enrich  the  work,  and  also  by  judicious  arrangement  break  up 
the  monotony  of  a  repeating  design. 

"The  individuality,  if  one  may  so  express  it,  of  a  piece  of  lace,  is  enhanced 
by  these  small  changes,  and  while  the  foundation  remains  unaltered,  each  repeat 
is  slightly  different,  emphasizing  the  fact  that  it  is  not  machine-made. 

"The  space  to  be  filled  will  often  vary  greatly  in  shape  and  size.  Here  it 
rests  with  the  worker  to  decide  which  is  the  most  suitable  stitch  to  use,  and  the 
best  point  at  which  to  hang  on. 

"It  will  often  happen  that  by  starting  at  one  particular  point,  some  bobbins 
may  be  cut  off  on  the  one  side  in  time  to  allow  their  being  used  again  for  the 
widening  of  the  pattern  elsewhere.  Naturally,  this  is  a  saving  of  trouble,  but 
the  worker  must  bear  in  mind  when  pricking  her  filling  that  if,  to  avoid  the 
use  of  extra  bobbins,  she  works  at  a  wrong  angle,  the  effect  of  her  work  is 
spoilt. ' ' 

The  illustrations  of  stitches  in  this  book  are  taken  from  the  sampler,  the 
patterns  or  prickings  are  the  ones  made  and  used  in  connection  with  it,  and 
the  text  is  an  attempt  to  describe  how  to  weave  these  nets  and  modes.  Arch- 
itects' tracing-cloth  can  be  laid  over  the  designs  in  the  book,  the  cloth  moved 
along  two  inches  at  a  time  until  as  long  a  pattern  as  desired  has  been  traced. 
Black,  waterproof  ink  is  the  best  for  this  purpose.  The  tracing  need  not  be 
mounted,  but  can  be  laid  upon  Bristol  or  press-board  for  greater  strength,  the 
same  pins  holding  both  board  and  tracing-paper  in  place. 

At  first  glance  the  mesh-making  instructions  will  seem  bewildering:  but  if 
each  one  is  read  entirely  through  just  before  using  it,  and  then  is  followed  step 
by  step,  the  making  of  the  lace  will  unfold  without  real  difficulty.  Several  of 
the  fillings  are  complicated  and  one  is  apt  at  the  start  to  forget  some  detail  and 
have  to  undo ;  but  after  about  one  inch  of  lace  has  been  successfully  made,  these 


BY  WAY  OF  INTRODUCTION 


tricky  points  will  have  become  impressed  upon  the  mind,  and  thereafter  cause 
no  annoyance.  The  descriptions  are  not  intended  for  the  absolute  beginner; 
but,  on  the  contrary,  presuppose  a  little  knowledge  of  how  to  handle  the  bob- 
bins ;  and  of  how  to  adapt  or  transfer  a  coveted  groundwork  to  the  lace  in  which 
it  is  to  be  used,  or  to  make  of  it  a  plain,  solid,  insertion  by  simply  adding  an  ap- 
propriate edge  or  finish.  However,  the  privilege  has  been  taken  of  adding  a 
few  general  remarks  and  instructions  that  it  is  hoped  may  not  be  considered  too 
irrelevant;  particularly  as  they  are  the  result  of  only  limited,  personal  ex- 
perience. The  more  the  author  studies,  the  deeper  she  inquires,  the  better  she 
realizes  the  possibilities  and  complexities  of  her  subject,  and  the  likelihood  of 
error  and  confusion.  There  are  several  books  of  manual  instruction  for  bobbin- 
lace  beginners,  among  them : — 

"The  Priscilla  Bobbin  Lace  Book." 

"Pillow  Lace"  by  Elizabeth  MincofT  and  Margaret  S.  Marriage. 
"The  Art  of  Bobbin  Lace"  by  L.  and  R.  Tebbs. 
"La  Dentelle"  by  Mme.  Marguerite  de  Brieuvres. 
"Manuel  de  Dentelles  aux  Fuseaux"  by  Mme.  H.  H.  de  Juillien. 
"D.  M.  C.  Library  Encyclopedia  of  Needlework"  (translated  into  all  prin- 
cipal languages)  by  Therese  de  Dillmont. 

"Bibliothek  D.  M.  C. — die  Kloppelspitzen,  lte  Serie." 

A  book  giving  elementary  instruction,  unexplained  by  cuts:  but  also  ad- 
vanced rules  and  stitches  with  illustrations :  and  one  that  is  recommended  in 
connection  with  "A  Lace  Guide  for  Makers  and  Collectors"  is: — 

"Devon  Pillow  Lace,  Its  History  and  How  to  Make  It"  by  A.  Penderel 
Moody. 

In  an  article  written  some  years  ago,  Mrs.  Florence  Gr.  Weber  says,  "At 
Burano  in  the  Royal  Lace  School  under  Queen  Margherita's  patronage,  I  found 
splendid  conditions.  The  girls  work  from  nine  to  twelve,  and  from  two  to  four. 
The  patterns  are  all  dark  colors.  They  wear  clean  cotton  dresses  and  dark 
cotton  aprons.  Take  note,  feminine  reader,  you  who  put  on  a  dazzling  white 
apron  when  you  sit  down  to  fine  work!  It  was  my  good  fortune  to  see  the  girls 
come  out  at  noon.  They  wear  a  cotton  kerchief  pinned  over  the  head  to  keep 
their  hair  clean.  Their  shoes  are  simply  a  sole  of  wood  held  on  by  a  leather 
strap  over  the  instep.  At  every  step,  the  wooden  sole  clicks  on  the  street.  As 
the  girls  poured  out  of  the  shop,  the  noise  of  their  shoes  reached  us  a  block  away, 
until  the  whole  three  hundred  pairs  of  wooden  soles  clicking  over  the  stone  pave- 
ment produced  in  me  much  the  same  feeling  as  the  musical  rattle  of  hundreds  of 
lace-bobbins.  "When  I  hear  it  blended  with  the  soft  voices  of  my  girls,  it  suggests 
at  once  the  combination  of  industry  and  the  joy  of  youthful  content.  I  was  full 
of  theories  when  I  went  to  Europe :  my  experience  with  the  girls  in  our  shop 
had  been  that  lace-making  first  of  all  is  a  joy  to  the  worker.  It  is  a  pursuit  so 
refined,  so  ennobling,  that  this  fact  alone  is  a  plea  for  our  industry  in  Boston.  In 
Europe,  my  theories  proved  true.  In  the  lace-makmg  villages,  the  women  are 
of  superior  type.  They  are  never  idle.  Their  manners  and  voices  are  gentle. 
Their  work  is  a  constant  joy.    Never  did  I  find  one  who  admitted  it  a  strain 


16 


BY  WAY  OF  INTRODUCTION 


upon  the  eyes.  Do  not  believe  all  the  constantly  published  paragraphs  about 
lace-makers  going  blind  in  factories !  The  lace  is  no  longer  made  under  painful 
conditions — in  damp  cellars.  Good  lace-makers  are  valuable  to  their  employers 
and  skill  is  to  be  treasured,  not  abused.  They  do  not  work  in  dark  rooms  at  all, 
but  in  upper  stories  of  well-lighted  and  well-ventilated  buildings.  Personal 
cleanliness  is  essential  at  all  times.' ' 

The  following  paragraph  from  "Lace-Making  in  the  Midlands' '  by  C.  C. 
Channer  and  M.  E.  Koberts  gives  us  another  glimpse  into  the  life  of  the  lace- 
maker,  showing  us  that  in  England  as  in  Italy  "there  is  a  freemasonry  between 
lace  workers  which,  once  formed,  is  very  strong;  a  feeling  of  kinship  which  is 
not  easily  understood  by  those  outside' ' — the  "spell  that  lace  seldom  fails  to 
throw  over  its  devotees. ' ' 

' '  There  are  hundreds  of  women  between  sixty  and  ninety  years  of  age  quite 
unfit  for  any  other  kind  of  work  who  keep  themselves  by  it  in  independence; 
any  lace-buyer  can  count  up  a  large  number  who  keep  their  husbands  as  well — 
husbands  past  work,  crippled,  or  blind,  or  bedridden.  The  old  mother  living  in 
the  son's  or  daughter's  house,  past  being  any  assistance  in  the  housework,  feels 
the  delight  of  not  being  ia  burden  on  the  hard-pressed  children.  She  can  sit  at 
her  pillow  part  of  the  day  and  earn  the  four  or  five  shillings  a  week  which  keeps 
her.  Perhaps  to  the  aged  the  occupation  is  almost  as  great  a  boon  as  the  earn- 
ings, and  this  accounts  for  the  intense  pleasure  with  which  the  work  is  almost 
always  spoken  of.  When  sons  and  daughters  are  all  grown  up  and  gone  away, 
the  long  days  may  be  unspeakably  dull  to  the  old  couple,  but  the  wife  can  always 
make  herself  happy  turning  over  the  bobbins.  We  went  to  see  a  widow,  over 
eighty  years  old,  living  all  alone,  and  tried  to  buy  some  of  her  beautiful  lace. 
'When  my  husband  was  alive,'  she  said,  'he  didn't  care  for  me  working  at  it,  so 
I  put  it  on  one  side;  but  now  he's  dead,  I  couldn't  do  without  it,  I  should  be  so 
dull. '  She  could  not  sell  us  any  of  her  work,  she  had  orders  that  would  keep  her 
busy  for  months  to  come. 

"But  it  is  not  only  the  aged  who  are  glad  of  the  work;  the  mother  of  the 
family  finds  it  a  great  help.  When  the  housework  is  done,  and  the  children  are 
all  away  at  school,  she  can  sit  down  and  work  for  a  couple  of  hours,  and  the 
week's  earnings  will  be  a  comfortable  addition  to  her  man's  wages,  especially 
when  there  is  a  large  family.  There  is  no  other  industry  so  convenient  for  the 
home.  It  is  clean  work  and  needs  cleanliness,  for  lace  must  be  spotlessly  white 
if  the  worker  is  to  get  her  full  price.  It  creates  no  litter  and  no  untidiness.  The 
pillow  stands  by  the  window  with  a  cloth  thrown  over  it  and  the  chair  ready 
before  it.  When  baby  is  put  to  sleep,  the  mother  has  but  to  lift  the  cloth  and 
begin  her  work :  there  is  no  getting  out  of  material  and  implements,  and  no  put- 
ting away  and  clearing  up  when  the  children  come  home  to  tea.  Where  certain 
other  work  is  taken  at  home,  the  littered  floor  and  whirring  machine  make  an 
unpleasant  contrast  to  the  tidiness  and  quietness  of  the  bobbins  with  their  little 
subdued  rattle  so  pleasant  to  the  ear.  Lace-making  is  not  tiring,  nor  in  any 
way  trying;  given  suitable  spectacles  for  the  old  women,  it  is  not  at  all  trying 
to  the  eyes — indeed,  an  expert  worker  on  a  lace  she  knows  well,  looks  at  it  no 
more  than  a  needlewoman  looks  at  a  long  seam.  'I  could  do  it  with  my  eyes 
shut'  is  a  phrase  one  often  hears  of  lace-making,  but  we  take  that  statement  for 


BY  WAT  OF  INTRODUCTION 


17 


what  it  is  worth.  It  is  not  monotonous  work,  for  even  in  the  simplest  lace  the 
pattern  creates  a  variety  of  motion  and  sufficient  occupation  for  the  mind.  'My 
mother  always  said  that  to  sit  down  to  her  pillow  was  the  best  rest  she  could  have 
after  her  work, '  we  have  been  told  by  the  daughter  of  a  famous  lace-maker. ' 7 

' '  Art  gracieux,  travail  bienf aisant ' wrote  M.  Engerand.  1 1  Sa  nature  meme 
se  concilie  avec  les  obligations  de  la  vie  rurale;  on  le  quitte  et  reprend  sans 
dommage.  C'est  l'ideal  d'un  travail  feminin,  peu  fatigant,  presque  recreatif, 
distingue,  s'exercant  a  la  maison;  dans  la  belle  saison,  en  plein  air  ou  sous  les 
pommiers ;  procurant  aux  enf ants  un  salaire  presque  immediat,  permettant  aux 
vieilles  de  gagner  quelque  argent  jusqu'a  la  mort.  Est-il  vraiment  beaucoup 
d'industries  plus  touchantes,  plus  inter essantes,  mieux  adaptees  aux  necessites 
de  la  vie  des  champs  V7 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


THE  LACE  MAKER. 
By  Pieter  van  den  Bosch. 


THE  LACE-MAKER 


THE  LACE-MAKER. 

When  in  doubt,  when  in  dread, 
When  her  sky's  overblown, 

To  the  plier  of  thread — 
Gentle  artist  unknown — 

Comes  the  blessing  of  work, 

Of  her  fine,  quiet  work. 

Her  poor  form  can  relax 
As  with  pillow  she  sits, 

Deftly  weaving  the  flax 

That  is  wound  on  her  sticks, 

On  her  bobbins  is  wound, 

To  their  spindles  is  bound. 

Oh,  such  merry  tools  these, 
Quaintly  carved  and  turned, 

Tinkling,  trying  to  please 
With  the  lullabies,  learned 

As  they  twist,  mingle,  toss 

In  life's  take,  give  and  cross! 

As  the  rhythmic  repeat 
Of  their  come  and  their  go 

Soon  becalms  by  its  beat, 
By  its  cadences,  so 

Her  resistance  it  smoothes, 

It  uplifts  and  it  soothes. 

From  her  fingers  is  shed 

By  the  exercise  light 
All  the  nerve-poison  bred 

Through  her  worrisome  plight 
It  unconsciously  slips, 
As  it  were,  from  their  tips. 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


Not,  perhaps,  sensing  how: 
Yet  her  sore  troubled  mind 

"By  the  sweat  of  the  brow" — - 

The  work's  light  though  in  kind — 

Has  ceased  fretting,  grown  clear, 

Forgot  self,  forgot  fear. 

Unpreoccupied,  free 

And  receptive  at  last, 
Like  the  heart  of  a  wee 

Little  child,  unharrassed, 
Is  the  thread  worker's  soul, 
Ay,  her  patient-grown  soul. 

She  can  now  hear  the  voice — 

That  "still  small/ voice' '  of  God's — 

That  leads  all  to  rejoice, 

Fills  their  souls  with  the  Lord's 

Inexpressible  peace; 

Peace  which  never  need  cease 

E'en  midst  tumult  and  war, 

If  our  part  therein 's  just 
And  we  seek  nothing  more 

Than  the  duty  we  must 
Carry  out  and  with  cheer, 
Garry  on  without  fear. 

Thus  her  struggle  so  true 
That  her  heart  's  very  beat 

Has  rung  upward  and  through 
To  the  Heavenly  Feet : 

Yea,  her  effort  sincere 

To  do  right,  persevere, 


TEE  LACE-MAKER 


Has  brought  insight  and  cheer, 
Taught  her  lace-maker  's  skill — 

Skill  so  oft  without  peer — 
Taught  her  faltering  will, 

To  work  on,  not  to  slack, 

To  ' 1  look  forward,  not  back": 

That  God  helps  us  to  cope 
With  our  troubles,  if  we 

Will  keep  on  and  but  hope, 
Will  but  lowlier  be, 

Not  obsessed  by  dismay, 

Not  obstructing  the  way: 

Taught  her  hands  and  her  mind 
Nimbly  forward  to  fly, 

Spinning  each  in  its  kind, 
And  with  patience  to  ply, 

Weaving  fabrics  of  worth, 

Adding  grace  to  the  Earth. 


OLD  LACE  BOBBIN. 
(From  the  Author's  collection.) 


CHAPTEE  H 


SUGGESTIONS 

"Who  would  believe/'  said  the  weaver  of  braid  one  day  to  his  neighbor 
the  lace-maker,  "that  1  ell  of  thy  lace  should  be  worth  more  francs  than  10 
ells  of  2  carat  gold  galloon?" 

"Thou  oughtest  not  be  surprised/9  she  answered,  "that  my  merchandise 
should  have  a  value  so  greatly  above  thine;  that  is  because  Art  is  worth  more 
than  Matter." 

— From  Thomas  de  Yriarte,  1750.  Teneriffe. 

In  the  chapter  on  Tools  in  "Pillow  Lace"  by  Elizabeth  Mincoff  and  Margaret 
S.  Marriage,  the  writer  says : — 

"Here  I  should  like  to  protest  against  the  hide-bound  conservatism  that 
rules — sad  to  say — especially  in  women's  handicrafts.  Why  should  we  so  illib- 
erally cling  to  some  traditional  way  of  holding  the  hands  in  our  work  as  the 
only  correct  one  1  Why  cannot  we  recognize  the  fact  that  our  hands  are  shaped 
differently,  the  strength  of  our  muscles  balanced  differently,  that  some  are 
stronger  in  the  wrist,  some  in  the  fingers,  and  so  can  never  use  their  force 
to  best  advantage  by  all  trying  to  pose  themselves  in  some  one  accepted  tra- 
ditional way? 

"In  many  parts  it  is  traditionally  correct  to  hold  a  great  number  of  bob- 
bins in  the  hands  while  working.  It  is  possible  in  this  way  for  some  to  econo- 
mize the  time  they  would  spend  in  taking  up  and  setting  down  the  pairs  in 
use.  But  that  is  no  reason  why  the  beginner  should  feel  herself  clumsy  and 
amateurish  because  she  can  work  better  with  only  two  pair  in  hand  at  a  time. 
This  is  much  less  confusing,  and  I  have  known  a  fairly  experienced  worker  to 
waste  more  than  the  time  she  gained  in  having  the  bobbins  so  close  at  hand, 
by  being  obliged  to  undo  a  good  part  of  her  work  because  she  had  got  hold  of 
the  wrong  pairs.  The  Flemish  lace-makers,  who  work  very  fast  indeed,  retain 
no  bobbins  in  the  hands,  but  let  them  all  lie  in  a  row  on  a  stiff  card  fastened 
across  the  pillow,  lifting  each  bobbin  in  turn  over  the  next. 

"Work  in  the  way  that  comes  natural  to  you.  There  is  no  need  to  follow 
slavishly  the  rules  laid  down  in  this  or  in  any  other  book,  in  order  to  become 
expert.  If  the  instructions  given  here  appear  precise  and  dogmatic,  it  is  be- 
cause to  give  a  choice  of  methods  confuses  and  worries  the  beginner,  not  that 
only  one  road  ' leads  to  Borne.'  Later  on,  the  worker,  gaining  experience,  will 
find  short  cuts  and  ways  of  her  own. 

"Take  pains  to  find  the  most  comfortable  pose  for  working,  the  best 
heights  for  table,  stand,  and  chair,  so  that  you  do  not  have  to  bend  over  your 
work,  nor  fatigue  your  arms  with  raising  them  unduly.    These  details*  un- 


22 


SUGGESTIONS 


23 


noticed  at  first  through  absorption  in  the  work,  afterwards  make  themselves 
most  unpleasantly  apparent  in  stiff  neck  or  arms. 

"Do  not  hurry  because  you  have  heard  professional  workers  clicking  their 
bobbins  at  a  great  rate ;  remember  that  they  mostly  make  one  pattern  day  after 
day.  The  amateur  has  no  need  to  turn  herself  into  a  machine,  and  cannot  ex- 
pect to  work  as  fast  as  if  she  did  so.  Lace-making  is  a  pleasant  and  soothing 
employment;  if  it  1  excites  the  nerves,'  as  I  have  heard  German  ladies  com- 
plain, it  is  because  the  worker  does  not  take  it  in  the  right  spirit,  either  re- 
garding it  as  a  task  to  be  finished  quickly,  or  as  an  opportunity  of  'showing 
off.'" 

The  advantages  of  the  Spanish,  lace  pillow  are  many.  This  upright,  cylin- 
drical pillow,  used  also  by  the  revivors  of  Swiss  lace-making,  can  be  placed  in 
an  adjustable  easel-like  stand,  or  its  lower  end  put  upon  the  worker's  knees,  while 
the  upper  end  leans  upon  a  chair-back,  against  a  table-edge  or  wall ;  or  should  the 
lace-maker  be  outdoors,  a  tape  or  ribbon  can  be  secured  behind  the  pillow  by  a 
pin,  then  this  band  can  be  crossed  over  and  behind  the  worker's  shoulders, 
brought  forward  and  tied  around  the  waist.  The  disadvantage  of  this  last  method 
is  that  when  one  leans  forward  to  inspect  a  certain  point,  the  pillow  tips  for- 
ward with  one.  Should  the  chair-backs  available  be  rounded  up  instead  of  being 
scooped,  a  soft  pillow,  or  a  divided  air-cushion  placed  between  cushion  and  chair 
will  keep  the  former  from  rolling  or  sliding.  No  basket,  box,  table  or  foot-stool 
is  necessary.  The  work  is  level  with  the  eyes,  avoiding  a  bent-necked,  stoop- 
ing, hollow-chested  position,  making  it  unnecessary  to  hold  the  arms  in  a  tire- 
some, spread-eagle  way  above  the  work,  but  allowing  the  elbows  to  fall  naturally, 
for  the  bobbins  hang  down  into  the  hands,  making  it  possible  to  manipulate  six- 
teen at  once,  instead  of  lifting  one  slowly  above  another ;  or  in  an  effort  to  hurry, 
throwing  one  out  of  place  too  far  beyond  the  other.  The  hanging  of  the  bobbins 
keeps  the  threads  taut  and  the  lace  smooth,  without  ugly  loops.  Suspended  bob- 
bins do  not  slip  out  of  their  nooses  as  do  those  lying  on  a  horizontal  pillow,  nor 
can  they  roll  sideways  and  backwards  out  of  place,  but  naturally  remain  on  the 
front  of  the  cushion. 

Brass  pins  bend  and  steel  ones  rust,  so  that  nickel-plated  tin  seem  to  be  the 
most  all-around.  The  heads  should  be  small,  so  as  not  to  obstruct  the  view  of 
the  work  beneath  them,  and  so  as  not  easily  to  catch  threads  when  one  is  making 
a  serpentine  or  tape-like  design,  when,  of  course,  the  pins  are  supposed  to  be 
pushed  all  the  way  into  the  pillow.  For  this  reason  pins  should  not  be  too  long, 
and  on  account  of  fine  laces,  the  shanks  should  be  slim.  The  ordinary  pin  found 
in  nearly  all  large  American  department  stores  that  seems  best  to  fulfil  all 
these  requirements,  is  Kirby,  Beard  and  Company's  S.W.  Ne  Plus  Ultra,  Solid 
Head,  Smooth,  Adamantine  Points,  %  of  an  inch  long.  However,  special  lace- 
makers'  pins  can  be  bought  in  Europe.  A  long  fine  pin  is  very  useful  in  reach- 
ing in  among  the  others  to  push  something  into  place,  or  to  assist  in  untying  a 
knot. 

Long,  spiral,  steel  springs  can  be  obtained,  pinned  to  stand  out  straight  hori- 
zontally against  the  cushion,  or  wrapped  around  it  and  hooked  behind,  at  a  height 
or  level  just  above  the  heads  of  the  bobbins,  so  the  threads  will  fall  between  its 
meshes  and  remain  in  place.    To  prevent  having  to  lift  each  thread  out  from 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


ADJUSTABLE  EASEL-LIKE  STAND  FOR  SPANISH  LACE  PILLOW. 


SUGGESTIONS 


LONG,  SPIRAL  SPRING  IN  PLACE. 


26 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


a  deep  cleft  between  spirals,  the  spring  should  be  of  small  diameter ;  say  a  quar- 
ter of  an  inch.  If  it  is  not  brass  or  nickel  plate,  it  should  be  kept  carefully  free 
of  rust. 

One  can  conveniently  couch  hundreds  of  bobbins  or  sticks  in  the  order  in 
which  they  are  used  by  laying  a  broad  tape  or  ribbon  between  superimposed  lay- 
ers of  them,  thus  keeping  an  upper  layer  from  falling  into  those  beneath.  A 
long  tape  is  pinned  at  its  centre  to  the  middle  of  the  pillow,  and  the  right-hand 
end  forms  a  zigzag  back  and  forth  from  the  centre  to  the  right-hand  edge.  The 
left  end  zigzags  back  and  forth  between  the  left-hand  layers  of  bobbins.  Of 
course,  a  large  supporting  pin  has  to  be  placed  in  the  middle  and  at  each  end 
to  turn  or  wrap  the  tape  around.  The  outer  edge  bobbins  should  be  placed  first, 
the  left-hand  ones  way  to  the  left,  the  right-hand  ones  way  to  the  right.  Then 
both  sides  are  filled  up  to  the  centre  pin,  pair  by  pair.  Now  the  tape,  starting  at 
the  middle,  is  laid  flatly  over  this  first  layer  of  bobbins,  each  end  of  the  tape  in 
its  own  direction  over  the  big  end  pins.  Starting  at  the  centre  from  where  one 
left  off,  adhering  to  respective  sides,  another  layer  of  bobbins  is  couched  until 
one  reaches  the  two  outer  pins ;  when  the  tape  going  around  these  pins,  returns 
to  be  folded  around  the  centre  support,  so  that  more  bobbins  can  be  added ;  and 
so  on.  When  the  lace-maker  is  using  the  bottommost  bobbins  at  the  left  of  the 
lace,  the  other  left  edge  bobbins  are  laid  in  the  same  orderly  fashion  upon  the 
right-hand  ones — with  tape  between,  of  course.  Thus,  first  the  left  is  laid  upon 
the  right-hand  pile,  then  vice  versa ;  and  if  done  regularly,  the  bobbin  next  wanted 
will  generally  be  the  next  to  hand.  Long  stiff  pins  can  be  ranged  fan-like  to  sep- 
arate pairs,  or  to  hang  successive  pairs  upon.  This  avoids  confusion,  broken 
threads,  knots,  eye-strain  and  loss  of  time.  Some  schools  teach  that  it  is  advis- 
able to  adhere  to  a  fixed,  orderly  method  of  starting  lace,  and  on  account  of  the 
securing  of  outworks,  the  left  side  has  proved  the  more  advantageous  to  begin 
from.  Therefore,  by  first  couching  the  right-hand  bobbins,  the  left-hand  ones 
come  nearer  the  top.  In  many  cases,  however,  it  is  just  as  easy  to  begin  weav- 
ing at  the  centre  without  first  unpiling  the  bobbins.  To  unpile,  one  lays  the  top 
left-hand  layer  of  bobbins  upon  the  top  right-hand  layer,  doubles  back  the  right- 
hand  tape  once  more,  and  so  forth  until  the  bottom  or  edge  left-hand  bobbins  are 
exposed,  ready  for  working.  One  then  works  layer  by  layer  towards  the  centre. 
A  pillow  should  never  be  put  aside  without  first  securing  a  ribbon  firmly  over 
even  the  top  layer  of  bobbins  and  pinning  it  down  tightly,  so  nothing  can  slip  and 
no  one  can  inadvertently  upset  the  work.  Time  is  not  then  lost  in  recommencing 
later  on.  And  the  pillow,  first  swathed  in  a  roll  of  clean,  washable  linen  or  silk, 
can  be  safely  taken  about  in  a  shawl-strap  or  steamer-rug  roll. 

This  inside  cover  should  be  kept  around  the  pillow  even  at  home,  to  prevent 
dust  or  insects  from  settling  upon  the  lace,  and  to  lay  under  and  behind  the  cush- 
ion when  in  use,  to  keep  pins  on  the  back  of  it  from  scratching  wall  or  furni- 
ture. Cover  and  bobbins  should  be  scrubbed  before  starting  a  new  piece  of  work ; 
but  bobbins  ought  not  to  be  soaked,  as  they  are  liable  to  warp.  Should  a  creamy 
lace  be  desired,  it  would  be  better  to  rely  upon  unbleached  linen,  than  upon  the 
discoloration  that  comes  from  careless  handling,  for  this  of  course,  rots  the  thread 
and  lessens  the  value  of  the  product.  Moreover,  should  the  work  become  more 
tawny  than  intended  and  so  require  washing,  there  is  risk  of  spoiling  the  original 


Suggestions 


SHOWING  BOBBINS  COUCHED  BETWEEN  BANDS  OF  RIBBON. 


28 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


charm  of  its  delicate  and  perishable  web.  A  damp  washcloth  can  be  kept  in  a  rub- 
ber sponge  bag  or  pocket  at  one's  side  and  used  whenever  the  hands  feel  sticky.  Or 
those  who  suffer  from  moist  hands,  can  use  some  of  the  various  toilet  prepara- 
tions on  the  market;  keeping  the  hands  soft,  nevertheless,  by  the  use  of  some 
soothing  balm  or  lotion. 

When  tape  laces  are  made  on  the  Spanish  or  Mexican  pillow,  a  stiff  felt  not 
quite  half  an  inch  thick  and  about  ten  inches  square,  is  attached  to  the  pillow  by 
one  or  two  pins  and  turned  or  tipped  from  side  to  side  as  the  serpentine  design 
progresses.  The  bobbins  therefore,  always  hang  in  the  normal  position  and  do 
not  entangle  themselves  helter-skelter  by  catching  in  pins  behind  them  in  the 
work  already  completed.  Such  felt  can  be  procured  at  a  harness  shop ;  or  better 
still,  at  a  felt  manufacturer's. 

In  making  long  continuous  strips  of  lace,  when  the  lower  part  of  the  modern 
Swiss  pillow  is  reached,  a  ribbon  is  laid  under  all  the  bobbins,  and  in  tying,  the 
outer  bobbins  are  lifted  upward  and  inward.  This  bunch  is  held  in  one  hand 
while  the  last  inch  of  work  and  pins  are  removed  from  the  pattern.  These  pins 
should  be  laid  over  the  corresponding^  part  of  the  pattern  on  the  upper  part  of 
the  cushion,  the  bobbins  so  supported  that  the  threads  will  not  pull,  and  the  pins 
pushed  into  their  new  places,  thus  firmly  securing  an  inch  of  lace  from  which  to 
work.  In  moving,  the  pins  ought  not  to  be  pulled  out  of  the  lace,  but  only  out  of 
the  pricking.    The  ribbon  can  now  be  removed  and  weaving  continued. 

Art  needlework  departments  and  f  ancy  work  shops  keep  pointed  and  blunt 
ended  tweezers,  which  save  one's  nails  and  fingers  a  good  deal  of  damage  in  re- 
moving pins. 

The  cylindrical  pillow  is  about  26  inches  long  by  7  inches  in  diameter.  Long 
clean  straw  is  tightly  tied  together,  some  of  the  heads  of  the  straw  placed  along- 
side some  of  the  stalk  ends  to  assure  even  thickness.  If  the  cushion  is  thin  and 
slight  in  diameter,  there  is  less  width  of  surface  upon  which  to  spread  the  bob- 
bins. When  the  desired  diameter  has  been  obtained,  the  ends  of  the  straw  are 
chopped  off  to  the  correct  length.  A  heavy  roll  of  ticking  or  denham  is  sewed 
tightly  over  the  straw  and  two  circular  ends  are  sewed  on. 

Short  or  long  pattern-prickings  canbe  used  upon  this  upright  pillow,  and 
two  or  three  different  pieces  of  lace  can  be  in  the  making  at  once  on  different 
sides  of  the  cushion,  thus  varying  the  work  and  relieving  possible  monotony. 
Two  exactly  similar,  short  patterns  can  be  used  on  no  matter  what  type  of  cush- 
ion, by  placing  one  alternately  below  the  other,  and  when  the  first  one  is  all 
worked  and  the  pins  removed,  placing  that  in  turn  below  the  one  which  was  pre- 
viously below  it.  It  is  easier  to  see  and  work  on  a  dark  pattern  with  light  lines 
than  on  a  light  pricking  with  black  lines,  as  white  threads  stand  out  more  dis- 
tinctly against  a  dark  background. 

Bahrenburg,  401  Lafayette  Street,  New  York  City,  sells  a  soft,  light  green 
"Mytho"  Bristol  board  No.  533,  20  by  32  inches,  that  is  light  enough  to  show  ink 
marks  clearly,  dull  enough  to  rest  the  eyes,  and  is  interlined  with  muslin  to  pre- 
vent tearing ;  an  excellent  material  for  bobbin  lace  prickings. 

If  one  sits  with  a  window  or  lamp  directly  to  the  right  or  left,  one  side  of  the 
thread  is  in  the  light,  the  other  in  the  shadow,  thus  showing  more  plainly  than 
when  the  light  comes  over  the  shoulder  making  all  the  threads  dead  white,  not 


SUGGESTIONS 


29 


outlining  one  against  the  other.  Splendid  adjustable  lamps  now  come,  throw- 
ing their  light  in  four  directions.  The  three  direction  lamps  are  not  fully  ade- 
quate, and  the  addition  of  a  movable  blinder  is  a  great  help.  The  three  direc- 
tions in  which  many  lamps  move,  are  a  sliding  up  and  down  motion,  a  swinging  to 
the  right  and  left,  and  a  tilting  to  the  right  and  left.  They  should  also  tilt  or 
turn  up  and  down  as  well  as  slide,  just  as  a  snake-necked  lamp  will ;  for  the  light 
should  not  shine  downwards  through  the  lace  pins,  casting  shadows  onto  the 
working  space,  but  upwards  through  the  working  place  in  among  the  pins,  so  the 
work  just  finished  can  also  be  observed.  And  the  light  beams  should  not  flare 
out  sideways  into  one's  eyes.  There  is  a  modern  theory  that  one  should  not  look 
through  a  layer  of  darkness  into  a  band  of  light,  as  this  might  cause  a  contra- 
dictory contraction  and  expansion  of  the  pupil  of  the  eye.  But  to  execute  lace 
in  a  diffused  light  is  certainly  very  trying.  The  happy  medium  might  be  to 
place  oneself  in  a  broad,  general  light  and  then  add  a  concentrated  light  directed 
solely  upon  the  work.  In  this  connection  it  may  be  interesting  to  note  that  in 
European  lace-making  communities,  each  worker  has  a  bottle  or  jar  of  water 
tinted  blue  which  she  places  in  front  of  a  candle  or  lamp  to  concentrate  yet  soften 
the  light  thrown  upon  her  pillow. 

In  weaving  wide  lace,  also  in  using  fine  thread,  or  for  the  so-called  Italian 
method  (that  is,  sewing  or  crochetage),  slim,  pointed  Devonshire  bobbins  will  be 
found  to  take  up  much  less  room,  and  their  pointedness  and  lack  of  protruding 
flanges  (the  thread  space  is  indented)  allow  them  to  slip  easily  through  a  loop. 
See  the  illustration  in  the  lower  right-hand  corner  of  the  sampler  diagram. 

A  reel  or  yarn  winder,  though  convenient,  can  be  dispensed  with,  as  a  skein 
of  thread  can  be  held  around  the  left  hand  and  wound  onto  a  spool  or  bit  of  card- 
board in  the  right  hand,  by  just  placing  one  end  of  the  skein  over  the  left  thumb, 
bringing  the  skein  across  the  inside  of  the  hand  and  around,  across  the  back ; 
again  over  the  palm  and  around  the  back  a  second  time ;  then  across  the  inside 
of  the  fingers  a  third  time,  laying  the  other  end  of  the  skein  around  the  little  fin- 
ger. The  fingers  and  thumb  should  then  be  stretched  apart  to  keep  the  thread 
from  slipping  off.  Care  should  be  taken  not  to  twist  one  strand  of  the  skein 
over  the  other,  but  to  keep  the  two  sides  parallel. 

Some  people  prefer  to  shrink  each  skein  before  using  it. 

A  bobbin  winder  is  an  unnecessary  article  for  a  lace-maker  to  store  or  carry 
about  with  her,  as  the  bobbins  can  be  easily  and  quickly  wound  by  tying  a  heavy 
white  thread,  preferably  a  tightly  twisted  or  glazed  one,  single  or  doubled,  to  a 
long  pin,  and  sticking  the  pin  firmly  into  one's  pillow  or  the  upholstered  arm  of  a 
convenient  chair.  The  point  of  the  pin  in  this  case  should  be  slanted  towards  one 
to  anchor  the  work,  as  in  hemming.  Here  it  might  be  parenthetically  said,  that 
in  bobbin  lace-making,  pins  should  always  be  placed  somewhat  at  this  angle  m 
order  that  they  may  not  give  and  allow  threads  to  slip  out  of  place ;  but  they 
should,  however,  all  slant  at  the  same  angle.  The  heavy  white  thread  referred 
to  in  a  previous  sentence  is  called  a  cable.  A  cable  should  be,  roughly  speaking, 
about  eighteen  inches  long:  but  many  workers  prefer  a  very  much  shorter  one. 
The  loose,  lower  part,  not  necessarily  the  very  end,  of  the  cable  is  customarily 
held  firmly  by  the  left  thumb  twice  around  the  forefinger  of  the  left  hand,  com- 
ing up  in  front  of  it.    To  secure  the  lace  thread  to  the  bobbin,  an  end  should 


PLACING  ONE  END  OF  SKEIN  OVER  THE  LEFT  THUMB. 


SUGGESTIONS 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


BOBBINS  CAN  BE  EASILY  AND  QUICKLY  WOUND. 


SUGGESTIONS 


33 


be  placed  towards  the  right  across  the  handle  flange  at  the  lower  end  of  the 
spindle  and  held  there  for  a  moment  by  the  right  forefinger.  Then  winding  the 
thread  twice  down  behind  the  back  and  np  around  the  front  of  the  spindle,  one 
turns  the  thread  end  back  towards  the  left  across  these  two  twists,  using  the  left 
thumb  and  forefinger,  replacing  the  right-hand  finger  to  secure  the  reversed  end, 
while  one  continues  to  wind  three  or  four  rounds  of  thread  on  top  of  it.  The 
worker  can  then  begin  using  the  cable,  in  the  meantime  replacing  the  first  right- 
hand  finger  by  the  second  if  necessary.  The  lace  spool  or  thread  holder  is  laid  in 
one's  lap  or  somewhere  else  just  below  the  left  hand,  and  the  lace  thread  comes 
up  to  the  bobbin  on  which  it  is  to  be  wound,  behind  the  little  and  forefingers,  in 
front  of  the  two  center  ones  of  the  left  hand.  This  permits  of  an  adjustable  ten- 
sion. The  bobbin  is  held  horizontally  in  the  right  hand  with  its  head  towards  the 
left,  the  handle  sloped  slightly  to  the  right  to  make  the  thread  wind  nearer  the 
handle  end  than  the  cable  end  of  the  spindle.  The  thread  groove  around  the  head 
of  the  bobbin  or  upper  end  of  its  spindle  just  next  to  the  spreading  head  flange, 
is  laid  in  front  of  and  against  the  cable.  The  lower  end  of  the  cable  is  then 
brought  up  in  front  of,  over  the  bobbin,  and  down  behind  it,  making  one  loop 
around — without  a  knot.  The  bobbin  should  slip  or  slide  up  and  down  in  this 
loop,  so  the  loop  ought  not  to  be  kept  too  tight  or  the  bobbin  cannot  move.  If, 
however,  the  cable  is  too  loose,  the  bobbin  will  slip  out.  Practically  the  whole 
trick  lies  in  this  tension :  but  that  this  is  easily  and  quickly  mastered,  is  shown  by 
the  fact  that  some  little  four-year-old,  meningitis  patients  learned  it  without  dif- 
ficulty. The  cable  must  be  around  the  stick  only,  not  in  with  the  thread,  or  the 
bobbin  cannot  turn.  The  two  first  fingers  of  the  right  hand  are  placed  above 
and  down  behind  the  bobbin  to  the  left  of  its  handle-flange,  the  other  two  right- 
hand  fingers  are  similarly  placed:  but  to  the  right  of  the  flange:  the  forefinger 
to  the  left  of  the  cable,  the  other  three  to  the  right,  one  over  the  thread  or  spin- 
dle part,  two  over  the  handle.  This  keeps  the  bobbin  properly  centered,  and 
these  fingers  are  used  to  push  or  slide  the  bobbin  down  the  cable,  allowing  the 
stick  to  roll.  The  thumb  of  the  right  hand  is  placed  below  the  bobbin  to  the  right 
of  the  cable  and  handle-flange,  in  what  is  the  slender  part  of  most  bobbin  han- 
dles, thus  leaving  a  clear  view  of  whether  the  thread  is  winding  smoothly;  and 
pushing  the  stick  upwards  on  the  return  movement  without  the  bobbin's  rolling. 
To  prevent  its  rolling,  the  thumb,  of  course,  grips  it  more  tightly  for  the  mo- 
ment. Once  this  simple  trick  is  mastered,  it  seems  very  easy  and  is  great  fun;  in 
fact,  one  feels  as  though  one  were  playing  a  game  rather  than  really  working. 

If  the  bobbins  are  wound  on  the  two  ends  of  the  same  thread,  winding  the 
first  from  the  spool  or  ball,  then  measuring  and  cutting  off  what  one  wants  for 
the  second  stick,  no  knot  appears  at  the  beginning  of  the  lace.  Knots,  of  course, 
have  to  be  avoided  in  the  midst  of  fine  work,  when  one  is  adding  an  extra  pair 
astride  the  weavers  right  in  the  middle,  where  there  is  no  seam  or  pin.  Begin- 
ners find  it  easier  to  knot  two  threads  together  around  a  pin  at  the  start  of  a 
new  piece :  for  otherwise  until  a  little  lace  has  been  woven,  securing  the  threads, 
one  bobbin  of  a  pair,  when  pulled,  pulls  up  its  mate  on  the  other  end  of  the  thread. 
To  wind  sticks  in  advance  and  keep  them  until  needed  without  tangling,  one  can 


34  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

wind  each  bobbin  right  np  to  the  middle  of  the  thread,  there  making  the  usual 
slip-noose,  bringing  the  second  stick  close  up  to  the  first,  with  not  more  than  a 
half  inch  of  loose  thread  between  them.  Should  one  wish,  an  elastic  band  can 
then  be  slipped  over  the  two  handles. 


OLD  RHODE  ISLAND  WHALE-IVORY  REEL,  WINDER  OR  "SWIFT.' 
(From  the  Author's  collection.) 


CHAPTER  III 


EXPLANATIONS  AND  NOMENCLATURE 

"The  most  perfect  must  by  reason  of  its  very  perfection  lack  the  impression 
of  life  which  the  very  faults  and  irregularities  of  human  handiwork  can  alone 
produce." 

There  are  two  general  definitions  of  lace: — one,  that  it  is  any  fancy  work 
which  consists  of  more  or  about  as  much  open  space  as  solid  part,  including  such 
products  as  drawn-work,  reticello,  cutwork,  punched-work,  darned  net  or  tam- 
bour work,  and  Carrickmaeross,  which  is  the  application  of  muslin  onto  net ; — 
the  other,  that  lace  is  evolved  entirely  from  a  simple  length  of  thread,  without  the 
foundation  or  addition  of  linen,  net  or  any  other  fabric.  Such  laces  are  netting, 
macrame,  needle-point,  bobbin  lace,  knitting,  crochet  and  tatting. 

Carita  says :  ' '  The  following  words  of  Charles  Blanc  very  graphically  con- 
vey the  pleasure  that  will  assuredly  result  from  attempting  to  work  out  the  many 
intricate  and  clever  stitches  handed  down  to  us  through  the  ages. 

"  'When  we  see  these  traceries  so  skilfully  plaited  in  which  straight  lines 
and  curves  intermingle,  cross,  branch  out,  disappear  and  recur,  we  experience  a 
high  pleasure  in  unravelling  a  puzzle  which  at  first  perhaps  appeared  to  be  un- 
decipherable, and  in  acknowledging  that  a  latent  arrangement  may  be  recognized 
in  what  at  first  and  at  a  distance  seems  an  inextricable  confusion. '  99 

TERMS 

By  twisting  is  meant,  placing  the  right-hand  bobbin  over  the  left  of  the  same 
pair. 

By  crossing  is  meant,  placing  the  left-hand  bobbin  of  the  right-hand  pair  un- 
der the  right-hand  bobbin  of  the  left  pair. 

By  sewing,  raccrochage  or  crochetage  is  meant,  hooking  one  thread  of  a  pair 
through  a  small  opening,  usually  a  pin  hole,  by  means  of  a  fine  crochet  hook  or 
pin :  then  passing  the  other  bobbin  of  the  pair  through  this  loop,  and  closing  the 
loop  by  pulling  up  the  first  bobbin. 

By  closing  is  meant  making  the  same  stitch  after  placing  a  pin,  as  one  made 
just  prior  to  placing  it. 

By  half-stitch  is  meant  twisting,  crossing. 

By  cloth  or  linen  stitch  is  meant  crossing,  twisting,  crossing. 

By  whole  or  double  stitch  is  meant  the  half-stitch  repeated. 

By  Winkie  Pin  is  meant  an  edge  where  the  weaver  comes  out  (sometimes 
twisted,  sometimes  not)  around  a  pin  and  returns  to  its  former  work.  This  edge 
is  made  up  of  many  tiny  loops. 

By  Bohemian  Edge  is  meant  an  edge  where  the  weaver  comes  out  from  its 
work  and  (generally  after  being  twisted)  is  woven  through  an  outside,  hanging, 

35 


36 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


waiting  pair ;  which  then  becomes  the  new  weaver,  going  around  a  pin  back  into 
the  work  proper,  while  the  former  weaver  hangs  idly  awaiting  the  next  similar 
edge  operation.  The  pin  is  not  closed.  In  this  way  an  extra  pair  is  required, 
as  the  weavers  alternate  in  their  work.    The  edge  formed  has  a  solid  outline. 

"Wincken"  is  the  Dutch  word  for  a  quick  movement,  hence  the  English 
word  "wink."  A  winkie  pin  edge  can  be  made  in  less  time  and  with  fewer  pairs 
than  a  Bohemian  edge  with  its  outside  couples  and  extra  twisting. 

Just  here  it  should  perhaps  be  added  that  different  authors  use  various 
terms  for  the  same  stitch  or  instrument,  as  indicated  in  the  following  five-lan- 
guage, lace  nomenclature.  Moreover,  teachers  vary  in  their  instruction  for  form- 
ing even  the  elementary  half,  linen  and  whole  stitches.    For  example: — 
The  "Priscilla  Bobbin  Lace  Book"says: 

Half  throw — twist,  cross.   Whole  throw — twist,  cross,  twist,  cross. 
The  "D.  M.  C.  Library  Encyclopedia  of  Needlework "  says: 

Half  passing — twist,  cross.    Double   passing  —  twist,    cross,  twist, 
cross. 
"Pillow  Lace"  says: 

Half  stitch — twist,  cross.    Cloth  or  whole  stitch — cross,  twist,  cross. 
"Die  Kloppelspitzen"  says : 

Halbschlag — twist,  cross.  Ganzschlag — twist,  cross,  twist,  cross. 
"A  Text  Book  on  Ciuny  and  Torchon  Laces"  by  M.  E.  Woodward,  says: 
Half  point — cross,  twist.    A  point — repeat  the  preceding. 
Point  matte — cross,  twist  cross. 
"The  Art  of  Bobbin  Lace"  says : 

Half  stitch — cross,  twist.    Cloth  stitch — cross,  twist,  cross. 
1 '  Devon  Pillow  Lace 9  9  says : 

Half  stitch — cross,  twist.    Whole  stitch — cross,  twist,  cross. 
The  Torchon  Cooperative  Lace  Company,  formerly  of  Chicago,  says : 

Half  throw — cross,  twist.    Linen  ground — cross,  twist,  cross.  Whole 
throw — cross,  twist,  cross,  twist. 
The  "Manuel  de  Dentelles  aux  Fuseaux"  says: 

Demi-point — twist,  cross.    Point  entier — cross,  twist,  cross. 

I  have,  therefore,  chosen  the  system  which  appealed  to  me  as  the  more  logi- 
cal and  thorough,  although  either  method  uniformly  and  consistently  followed, 
will  give  the  same  result. 


EXPLANATIONS  AND  NOMENCLATURE 


37 


In  describing  the  following  meshes,  the  author  has  often  stated  that  it  re- 
quires so  and  so  many  bobbins  for  the  making  of  a  certain  stitch.  In  this  case, 
however,  for  the  sake  of  making  the  explanation  clear,  the  stitch  has  been  iso- 
lated and  described  as  though  it  were  going  to  be  woven  all  by  itself.  Should  the 
maker  wish  to  have  several  continuous  lines  or  columns  of  any  such  mesh,  not 
so  many  bobbins  would  be  required  as  might  at  first  appear.  That  is,  if  the  de- 
scription says  that  one  mesh  requires  eight  bobbins  and  one  is  about  to  make  six 
such  stitches  side  by  side,  it  will  not  be  necessary  to  use  six  times  eight  bob- 
bins, for  there  is  more  or  less  give  and  take  between  pairs ;  that  is,  the  strand 
which  forms  the  left  edge  of  one  mesh  also  forms  the  right-hand  border  of  an 
adjoining  stitch. 

A  LACE  STUDENT'S  NOMENCLATURE 

"A  small  thing  may  make  Beauty, 
Yet  Beauty  is  no  small  thing." 

— Michelangelo. 

The  following  lace  vocabulary  or,  more  correctly  speaking,  nomenclature, 
can  be  largely  supplemented  and  improved  by  readers  who  are  linguists  or  who 
have  studied  abroad.  There  are  spaces  where  missing  or  more  appropriate 
words  can  be  inserted,  giving  to  each  volume  an  added  and  individual  value.  In 
addition  to  the  knowledge  of  terms  gained  by  the  author  in  studying  lace-making 
and  its  history  in  different  European  countries,  many — very  many — diction- 
aries and  technical  books  have  been  used  in  checking  and  counter-checking,  and 
a  number  of  foreign  authorities  consulted. 

The  names  of  stitches  and  varieties  of  lace  are  not  included.  See  the  index 
for  a  partial  list  of  these:  but  the  nomenclature  applies  to  knotted,  knitted,  cro- 
cheted, needle,  bobbin,  run,  applied  and  mixed  lace :  not,  however,  to  the  machine- 
made.  Designing,  laundering  and  historical  terms  also  are  given;  as  well  as  the 
names  of  those  articles  frequently  made  of  lace  or  trimmed  with  it,  and  the  tools, 
materials,  et  cetera,  used  in  making  it. 


38 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH  FRENCH  ITALIAN  SPANISH  GERMAN 


Ability,  dexterity, 
deftness 

Adapt,  to,  recon- 
struct, to 

Admirer :  see  Ama- 
teur 

Agate :  see  Puff 
iron 

Agent,  commission 
agent,  middle- 
man, collector, 
buyer,  factor 

Alb 
Album 

Aloe  (tree) 
Alpaca :  see  Mohair 
Altar-cloth,  cere- 
cloth 

Altar-hangings,  al- 
tar-curtain 

Amateur  (beginner, 
not  professional- 
ly trained) 

Amateur  (lover, 
fancier,  admirer) 

Amber 

American  (adj.) 
Angel 

Aniline,  anilin :  see 

Dyestuff 
Antimacassar :  see 

Tidy 


Antique  (adj.) 

Apparatus :  see 
Tool 

Applier  (of  lace) 
Apply,    to,  onlay, 
to:   see  Setting 
Apprentice 

Apprenticeship 
Apron 
Arabesque 
Arrangement,  dis- 
position 

Artist 

Asbestos,  amian- 
thus, amianth 
Assemblage 


Attach,  to  :  see  Tie, 
to 

Auction,  sale :  see 
Fair 

Authority : 

see  Connoisseur: 
see  Expert 


l'habilete,    la  dex- 
terite,  l'adresse 

adapter,  ajuster,  re- 
construire 


la  factrice,  le  fac- 
teur,  la  koop- 
vrouw,  la  facto- 
resse,  l'interme- 
diaire 

Taube 

1' album 

l'aloes 

la  nappe  d'autel 

le  parement  d'autel 

le  commenQant,  la 
commengante 

l'amateur,  l'ama- 

trice 
l'ambre 
americain  -e 
l'ange 
l'aniline 

l'antimacassar,  la 
pommadiere,  le 
dessus  de  fau- 
teuil 

antique 

l'appareil,  l'usten- 

sile,  l'outil 
l'appliqueuse 
appliquer 

l'apprentie 

l'apprentissage 

le  tablier 

l'arabesque 

l'arrangement, 
l'agencement, 
l'ordonnance 

l'artiste 

l'amiante 

1' assemblage,  le 
point  de  raccroc, 
le  rucroc 


la  vente,  l'enchere 


l'autorite 


l'intelligente 
adattare 


l'agente,  il  fattore 


il  camice 

l'album,  il  libretto 

dei  ricordi 
l'aloe 

l'altare 

il  paramento 

l'incominciatore 


il  dilettante 

l'ambra 
americano 
l'angelo 
l'anilino 

l'antimacassar 


antico,  vetusto,  an- 

ticho 
l'apparecchio 

l'applicatrice 
applicare 

l'apprendista 

il  tirocinio 
il  grembiale 
l'arabesco 
l'ordine 


l'artista 

il  redunamento,  la 
commessura 


la  vendita 


l'autorita 


la  desteridad,  la  ha- 
bilitad 

adaptar,  ajustar 


el  factor,  el  agente 


el  alba 

el  album 

el  aloe 

la  sabanilla 

la  colgadura  de  al- 
tar 

el  aficionado 


el  aficionado 

el  ambar 
americano 
el  angel 
la  anilina 

el  antimacassar 


antiguo 

el  aparato 

la  aplicadora 
aplicar 

el  aprendiz 

el  aprendizaje 
el  delantal 
lo  arabesco 
la  disposition 


el  artista 
el  asbestos 

el  conjunto 


la  subasta  publica, 
la  almoneda 

la  autoridad 


die  Fahigkeit,  die 
Fertigkeit,  die 
Geschicklichkeit 

anpassen 


die  Kauferin,  die 
Kommissionarin, 
der  Geschaftstra- 
ger 

das  Chorhemd 
das  Musterbuch 

die  Aloe 

das  Altartuch,  die 

Altardecke 
der  Altarbehang 

der  Anfanger 


der  Amateur 

der  Bernstein 
amerikanisch 
der  Engel 
die  Anilin 

der  Schorner,  die 
Schutzdecke,  die 
Sofadecke  zum 
Schutze  gegen 
Haarolflecke 

alt,  antik 

der  Apparat 

die  Aufiegerin 
auflegen 

der   Lehrlin?,  das 

Lehrmadchen 
die  Lehrzeit 
die  Schurze 
die  Arabeske 
die  Anordnung 


der  Kiinstler 
der  Asbest 

das  Zusammenset- 
zen 


die  Versteigerung, 
die  Auction,  die 
Gant 

dii  Autoritat 


ENGLISH 


Backed  (cloth  or 
linen)  (adj.) 

Background :  see 
Ground 

Back-stitch 


Backwards,  the 
wrong  way, 
against  the  grain 

Bag 

Ball,     clew :  see 

Bottom 
Band  :  see  Stripe  : 

see  Row 
Band   (for  cap) 
Bangle :  see  Yarn- 

holder 
Bar,      rod :  see 

Pearl-tie :  see 

Stripe 
Barker,  decoy 


Baste,  to,  tack,  to 
Bath  -  mantle,  bath 
set 


Bead 

Bead  edge,  beading, 
narrow  edge  fin- 
ish :  see  Edging 

Beading,  seaming, 
spacing :  see  In- 
sertion 

Beautiful  (adj.)  : 
see  Pretty 

Bedspread,  count- 
erpane, quilt 


Bee 

Beginner :  see  Ama- 
teur 
Belgian  (adj.) 
Bertha,  fall 


Bib 

Binding    off :  see 

Casting  off 
Black  (adj.) 
Blade 

Blind  pin  :  see  Fal- 
se stitch 


EXPLANATIONS  AND  NOMENCLATURE 

FRENCH  ITALIAN  SPANISH 

 B  

monte  -e  montato  apoyado,  sostenido  verstarkt 


39 


GERMAN 


le  point  arriere 
k  rebours 

le  sac 

la  boule,  la  pelote, 

le  peloton 
la  bande 

la  passe 
la  barre 


le  raccoleur 


faufiler,  batir 

l'equipage  de  bain 
(descente  de 
bain,  sac  a  o- 
deurs,  serviettes, 
peignoirs,  garni- 
tures de  bain 
avec  volant) 

la  perle 

la  dentelle  etroite 


le  trou-trou,  l'entre- 
lac,  l'entrelas 

beau,  bel-le 

le  couvre-lit,  la 
courte-pointe,  le 
couvre-pied,  la 
couverture,  la 
couverte  de  para- 
de 

l'avette,  l'abeille,  1' 
apette 


beige 

la  berthe,  le  godet 


Bias,  on  the  bias     en  biais 


il  punto  in  dietro 
in  dietro 

il  sacco 

il  gomitolo,  la  go- 
mita 

la  striscia,  la  lista, 

la  benda 
l'ala 


el    punto-atras,  el 

pespunto 
contra  pelo,  al  re- 

v6s 

el  saquito,  la  bolsa 

de  mano 
el  ovillo 

la  venda 

el  ala,  la  banda 


der  Steppstich 
riickwarts 


der  Beutel, 

Sack 
der  Knauel, 

Ball 
das  Band 


der 
der 


das  Haubenband 


la  barra,  la  stanga     la  barra,  la  varilla     der  Stift 


imbastire 

1'equipage  di  bagno 


el  reclamo 


hilvanar 

el  equipo  de  bano 


der  Marktschreier, 
der  Werber,  der 
Schreier 

reihen,  bastan 
der  Bade-mantel 


la  perla 
il  orlo 


la  passa  nastri 
bello 

il  coltre,  la  coperta 


el  abalorio 

el  encaje  estrecho 


el  borde,  la  pestana 


bello,  hermoso 

la  colcha,  la  sobre- 
cama,  el  cobertor 


il  circolo  di  cucire      la  colmena 


belgica  belgico 

la   ciotola,   il  sco-  la  berta 
dellino 

sbieco,  sghembo  al  sesgo 


la  bavette,  le  ba-     il  bavaglio 


noir 
la  lame 


nero 

la  lastra,  la  lama, 
la  laminetta 


el  babero 


negro 
la  hoja 


die  Perle 


der  Kettenzug,  der 
Einsatz 

schon 

die  Bettdecke 


das  Nahkranzchen 


belgisch 

der  Spitzenkragen 

die  schiefe  Rich- 
tung,  in  schiefer 
Richtung,  schrag 

das  Latzchen 


schwarz 
die  Klinge 


40 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Blonde,  flaxen,  silk- 
en :  see  Silk :  see 
Cream  colored : 
see  Ecru 

Blue  (adj.) 

Blunt,      o  b  t  u  js  e 

(adj.) 
Blunt  (needle) 

(sub.) 
Bob :  see  Crown 
Bobbin,  stick 


Bobbin  lace,  bob- 
bin work,  pillow 
lace,  bonelace, 
pinwork 

Bobbin  winder :  see 
Winding  machine 

Bodkin :  see  Stil- 
etto 

Bone  (fish)  (ani- 
mal) 

Bonnet:  see  Hood 
Book 

Boot-tops,  knee- 
scarfs 


Borax 

Border :  see  Edg- 
ing 

Bottom,  foot 
Bottom  (of  thread) 

see  Ball 
Boudoir  cap 

Bout  (knitting), 
round 

Bracelet :  see  Yarn- 
holder 

Braid :  see  Plait : 
see  Tape 

Bran :  see  Excel- 
sior 

Branch,  flower 

Brass,  latten 

Bridal  (adj.) 
Bride :    see  Pearl- 
tie 

Bristol-board,  pas- 
teboard, press- 
board,  cartridge 
paper 

Bronze 

Brush 
Bud 

Bullion 


FRENCH 

la  blonde,  la  biset- 
te 


bleu  -e 

emousse,  epointe, 
contondant 

? 


le  fuseau 


la  dentelle  aux  fu- 
seaux,  le  plat 


le  passe-lacet,  l'ai- 
guille  a  passer 

l'arete,  l'os 

le  bonnet,  la  calot- 
te, la  cornette 
le  livre 

les  canons,  les  bas? 
de  bottes 


le  borax 


le  bas 

le  peloton 

la  cornette 

le  tour 


le  son 

le  ramage,  le  rin- 
ceau 

le  cuivre  jaune,  l'ai- 

rain,  le  laiton 
nuptial 


le  carton  fin 


le  bronze 

le  pinceau 
le  bouton 

la  cannetille,  la  fri- 
sure,  la  bisette, 
le  clinquant 


ITALIAN 
il  merletto  di  seta 


turchino,  azzurro, 

cilestro 
ottuso,  grossolano 

l'ago  contundente 


i  fuselli,  i  piombini, 
i  piombi,  il  maz- 
zette 

la  trina  a  fuselli, 
il  merletto  a 
piombini 


l'argi  per  passe 
nastro,  l'infila- 
guaine 

l'osso,  la  spina 

la  berretta 
il  libro 

la  sorta  d'ornamen- 
to  a  merletti  che 
si  metteva  ai 
gambali  delle 
brache  sotto  Lui- 
gi  XIV 

il  borace 


il  fondo 

la  pelot,  la  gomita 
la  cuffia  da  notte 
la  turna 


la  crusca,  la  simola 
il  ramo 

il  rame,  il  bronzo 
nuziale 


il  cartone 


il  bronze 
? 

il  bottone,  il  ger- 

moglio 
la  canutiglia,  il  or- 

pello 


SPANISH 

el  encaje  o  la  blon- 
da,  hecho  de  se- 
da 

azul 

embotado 

la  aguja  embotada 


los  palillos 


el  encaje  hecho  con 
palillos 


la  agujeta  6  aguja 
de  jareta 

la  raspa  6  espina, 

el  hueso 
la  gorra,  el  gorro 

el  libro 

parte  alta  de  las 
botas 


el  b6rax 


el  fondo 

el  globo,  la  pelota 

la  gorra  6  el  gorro 

de  gabinete 
la  vuelta 


el  salvado 

la  rama,  el  ramo 

la  calamina,  el  la- 

t6n 
nupcial 


la  cartulina 


el  bronce 

el  cepello 

el  bot6n,  el  capullo 

el  canutillo 


GERMAN 
die  Blonden 


blau 

stumpf 

? 


der  Kloppel,  der 
Spitzenkloppel 

die  Kloppelspitze, 
die  gekloppelte 
Spitze 


die  Durchzienadel 


die  Grate,  der  Kno- 

chen 
die  Haube 

das  Buch 

das  Spitzenbesatz 
am  Knie,  das 
Schenkelstrumpf, 
das  Hosenbein 


der  Bor 


das  Ende 
der  Knauel 

die  Morgen-haube 


die  Kleie 

der  Zweig 

das    Messing,  das 

Erz 
hochzeitlich 


die  Pappe 


die     Bronze,  die 

Glockenspeise 
der  Pinsel 
die    Knospe,  der 

Keim 
der  gekrauselte 

Goldfaden,  das 

Rauschgold 


EXPLANATIONS  AND  NOMENCLATURE 


41 


ENGLISH 
Burl,  to 


Burler 

Burling,  flattening 

Burnisher :  see  Puff 

iron. 
Butterfly 
Buttonhole,  to 


Buttonhole  stitch, 
close  stitch 


Buttonholing  (rais- 
ed, )  outlining : 
see  Gimp :  see 
Outlining  thread, 
see  Finishing 

Buy,  to,  purchase, 
to 

Buyer 


Cabinet 
Cable 

Candle-board,  pole- 
board,  candle- 
block 

Canopy,  tester,  ceil- 
ing 

Canvas,  scrim 


Cape 

Cap-string 


Carbon,  autogra- 
phic, transfer  pa- 
per, colored  trac- 
ing paper :  see 
Tracing  cloth 

Care  cloth 


Carnation 
Cartoon 

Case :  see  Needle- 
case:  see  Sheath 

Cassock,  cloak 
( worn  over  a 
cuirasse) 

Casting  off,  binding 
off,  chain  of 
stitches 


FRENCH 

ebouler,  rabattre, 
corriger  les  ine- 
galites 

l'ebouleuse 

l'eboulage,  l'affais- 
sement 


le  papillon 

faire  le  point  noue, 
de  boutonniere, 
de  feston 

le  point  de  bouton- 
niere, le  point  de 
feston,  le  point 
noue 

la  brode 


acheter 

l'acheteur,  l'ache- 
teuse 


le  cabinet 

le  cable,  le  grelin 

le  gueridon 


le  baldaquin 


le  canevas 


la  pelerine,  le  man- 

teau 
la  bride 


le  papier  autogra- 
phique,  le  papier 
bleu  de  caique,  le 
papier  lombard 

? 


l'oeillet,  l'oeillet- 

giroflee 
le  carton 

l'gtui 

la  cotte,  la  casaque 


la  chalne  de  mailles 


ITALIAN 
appianare,  spianare 


la  parafalla 
fare  la  festone 


l'occiello,  il  punto 
a  feston,  il  punto 
serrato,  il  pun- 
to a  festone 

? 


comprare 

il  compratore 

il  gabinetto 

la  gomena,  il  gher- 

lino 
il  candelabro 


il  baldacchino  del 
letto,  il  baldac- 
chino 

il  canavaccio,  il  ca- 
novaccio 

il  mante,  la  pelle- 
grina 

la  legaccie,  la  nas- 
tria  d'una  cuffia, 
d'un  cappellino 

la  carta  azzurro 


?  nuziale 


il  garofano 

il  cartone 

l'astuccio,  la  busta, 

la  custodia 
la  casacca 


? 


SPANISH 
desnudar 

el  que  quita  los  nu- 

dos  en  el  pano 
la  desmotaci6n 

la  mariposa 
ojalar,  hacer  ojales 

el  punto  de  ojal 

el  bordeado  o  el  ri- 
beteado  con  pun- 
to de  ojales 

comprar 

el  comprador 

el  gabinete 

el  cable,  el  cord6n 

el  portavela 

el  cielo  de  cama 

la  lona,  el  canama- 
zo 

la  manteleta 
la  cinta 

el  calco,  la  copia 
hecha  en  papel 
transparente 

el  clavel 

el  carton 

el  estuche 

la  cota  de  armas 

el  ribete  de  costura, 
la  c  a  d  e  n  a  de 
mallas 


GERMAN 
noppen 


die  Nopperin 
das  Noppin 


der  Schmetterling 
m  i  t  Knopfloch- 
Stich  ausbogen 

der  Knopflochstich 


Art  Alengonner 
Spitze 


kaufen 

die   Kauferin,  der 
Einkaufer 


das  Sammlungsca- 

binet 
die  Schnur 

der  Leuchterstuhl, 
das  Leuchterges- 
tell 

der  Baldachin,  der 
Betthimmel 

die   Stickgaze,  die 
Gitterleinwand, 
der  Kanevas 

der  Rad-mantel, 
der  Kragen 

das  Bindeband 


das  Kopierpapier, 
das  Kohlenpa- 
pier,  das  Lom- 
bardpapier 

eine  Decke,  die  der 
Braut  w'ahrend 
der  Trauung 
iiber  der  Kopf 
gehalten  wurde 

die  Nelke 

d  i  s    Muster  -  Vor- 

zeichnung 
das  Etui 

der  Waffenrock 


das  Abnehmen 


42 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 
Casting  on 

Caul :  see  Filet 
Celebration,  jubi- 
lee: see  Fair 
Celluloid 

Centre,  middle 
Centrepiece 
Century :  see  Peri- 
od 

Chain  stitch 


Chalice  cover, 
paten  cover :  see 
Pall 

Chasuble 

Cheap  (adj.) 

Chemical,  chymical 
(adj.) 

Chemise,  shift 

Chenille 

Chest,  linen  chest 

Chinese  (adj.) 

Christening,  bap- 
tismal clothes, 
bearing  cloths 

Chronogram 


Chronological, 

chronologic 

(adj.) 
Church 

Circular  (adj.) 

Clamp,  vise,  hem- 
ming-bird,  clip : 
see  Weight :  see 
Screw 

Class 

Cleaning,  cleansing 

Clew  :  see  Ball :  see 

Bottom 
Close,  to,  cover,  to, 

shut,  to,  repeat, 

to :    see  Closing 

stitch 
Closing  stitch :  see 

Close,  to 
Cloth  stitch,  linen 

stitch,  clothing 

work 
Coarse  (adj.) 
Coffee 
Coffin 

Cogwheel,  notched 


Coif,  cap 


Cold  (adj.) 


FRENCH 

le  montage,  monter 
la  chaine,  ourdir 

la  celebration 

le  celluloid,  le  cel- 

luloide 
el  centre,  le  milieu 
le  centre  de  table 
le  si&cle 

le  point  de  chain- 
ette,  la  maille  en 
l'air,  la  maille 
chainette 

la  pale,  la  palle,  la 
voile  de  bene- 
diction 

la  chasuble 

bon  marche 

chimique 

la  chemise 

la  chenille 

le  coffre,  le  coffret 

chinois  -e 

les  robes  de  bap- 
teme 

le  chronogramme 


chronologique 


l'eglise 
circulaire 

1c  crampon,  la 
clampe,  le  pince- 
notes 

la  classe 

le  nettoyage,  le 
nettoiement 


fermer 


le  point  final,  le 
dernier  point 

le  point  de  toile,  le 
point  matte,  le 
mat,  le  toile 

gros  -se,  grossier  -e 

le  cafe 

le  cercueil 

la  roue  dent6e,  la 
roue  a  crans,  le 
tournant 

la  calotte,  la  coiffe 


froid  -e 


ITALIAN 
rimontare 


la  festa 

il  celluloide 

il  centro 

il  centro  di  tavola 
il  secolo 

il  punto  a  catenella 


la  paten  a 


la  pianeta 
buon'  mercato 
chimico 

la  camicia,  il  ca- 

misciole 
la  ciniglia 
la  cassa,  la  forziere 
Chinese 

la  gonneletta  di 
battesimo,  la  ves- 
ta di  battesimo 

la  cronogramma 


cronologico 


la  chiesa 
circolare 

il  rampone 


la  classe 

il  nettamento 


fermare,  chiudere, 
serrare 


il  punto  di  ferma 
la  punta  tela 


grosso,  grossolano 
il  caffe 

la  bara,  il  cataletto 
«? 


la  souffia,  il  cap- 
pellino,  il  berret- 
tino,  la  scazzetta 

freddo 


SPANISH 
tramar 


la  celebracion 
el  celuloide 
el  centro 

el  centro  de  mesa 
la  centuria,  el  siglo 

el  punto  de  cadena 


la  cubierta  de 
plato,  la  cubierta 
de  caliz 

la  casulla 

barato 

qiumico 

la  camisa  de  mujer 

la  felpilla 
el  area 
chinesco 

el  vestido  bautis- 
mal 

el  cronograma 


cronol6gico 


la  iglesia 
circular 

el  tornillo 


la  clase 

la  limpiadura 


cubrir 


el  punto  de  remate 
el  punto  de  tela 


grosero,  basto 
el  cafe 
el  ataud 

la  rueda  dentada 


la  cofia 


frio 


GERMAN 
anzetteln 


die  Feier 

das  Celluloid 

der  Mittelpunkt 
das  Mittelstuck 
das  Jahrhundert 

der  Kettenstich 


der  Kelchdeckel 


das  Messgewand 
wohlfeil,  billig 
chymisch 

das  Hemd 

die  Chenille 

die  Truhe,  die  Lade 

chinesisch 

die  Taufkleidung 


das  Chronogram, 
die  Zahlbuchsta- 
beninschrift 

chronologisch 


die  Kirche 
kreisrund,  kreisfor- 
mig 

die  Schraubzwinge, 
der  Papierhalter, 
die  Klammer, 
der  Schraubstock 

die  Classe 

das  Reinigen 


nadelschliessen 


der  Schlusschlag 
der  Leinenschlag 


grob,  rauh 
der  Kaffee 
der  Sarg 
das  Zahnrad 


die  Haube 


kalt 


EXPLANATIONS  AND  NOMENCLATURE 


43 


FRENCH 

le  col,  le  collet,  le 
collier 


ITALIAN 
il  collare 


SPANISH 
el  cuello 


GERMAN 
der  Kragen 


ENGLISH 

C  ol  1  a  r  ,  wimple, 
gorget,  whisk  : 
see  Falling  col- 
lar :  see  Standing 
collar :  see  Yoke 

Collecting  (stitch) 

Collection :  see  Mu- 
seum 

Colored,  coloured 
(adj.)  :  see  Dye- 
stuff 

Combing  cloth :  see 
Razor-cloth 

Companion  piece : 
see  Mate 

Company,  corpora- 
tion 

Compass 

Connoisseur :  see 
Expert :  see  Au- 
thority 

Contraband 


Contrast 

Convent,  nunnery 

Conventionalized 

Cope  (choir) 

Copper 

Coptic  (adj.) 

Copy 
Copy,  to 

Cord    (fancy)  , 
draw  -  string, 
band,  string:  see 
Gimp 

Cork :  see  Excel- 
sior 

Corner 

Cotta 

Cottage  (work) 

Cotton,  gossypium 

Couch,  to,  tack,  to 
catch  down,  to : 
see  Baste,  to : 
see  Outlining 
thread 

Couple,  to :  see 
J oin,  to :  see  Tie 
together,  to 

Court 

Covering  cloth :  see 

Sheath 
Cravat,  Steinkirk : 

see  Frill :  see 

Jabot 
Cream     (colored)  : 

see  Blonde:  see 

Ecru :  see  Isabel 
Crease,  pucker 


la  collection 
colorie" 


le  peignoir 


la    compagnie,  la 

corporation 
le  compas 
le   connaisseur,  la 

connaisseuse 

la  contrebande 


le  contraste 
le  couvent 

rendu    -e,  conven- 
tional -le 
la  chape 

le  cuivre 

cophte,  copte,  coph- 

tique,  coptique 
la  copie 
copier 

la  ganse,  la  corde, 
le  lacet 


le  liege 

le  coin 
le  rochet 

a  domicile 

le  coton 
coucher,  batir 


accoupler,  coupler 


la  cour 
la  housse 

la  cravate 


couleur  cafe  au  lait 


le  pli,  le  godet,  le 
faux-pli 


la  collezione 
die  colore 


il    accappatoio,  il 
mantellino 


la  compagnia 

il  compasso 
il  conoscitore,  il  es- 
perto,  il  istrutto 

il  proibito 


il  contrasto 
il  convento 

? 

la  pianeta,  la 
cappa,  il  piviale 

il  rame,  il  calde- 
rone 

coptico,  cofto 

la  copia 
copiare 

la  corda,  la  stringa, 
il  lacciuolo 


la  sughera 

il  cantone,  l'angolo 
il  rochetto 

a  domicilio,  in  casa 

sua 
il  cotone 

posare,  collocare, 
coricare 


accoppiare 


la  corte 
la  coperta 

la  cravatta,  il  faz- 
zoletto 

beige,  crema 


la  piega,  la  cattiva 


el  punto  de  reco- 

gida 
la  coleccion 

Colorado 


el  peinador 


la  companla 

el  compas 
el  perito,  el  cono- 
cedor 

el  contrabando 


el  contraste 
el  convento 

hecho  convencional 

la  capa  pluvial 

el  cobre 

coptico 

la  copia 
copiar 

el  cordon,  la  pre- 
silla 


el  corcho 
el  angulo 

la  cota,  el  sobre- 
pelliz 

trabajo  hecho  a  do- 
micilio 

el  algodon 

ribetear 


parear,  juntar 


la  corte 

la     cobertura,  la 

funda 
la  corbata 


crema 


el  pliegue,  la  plega- 
dura 


die  Sammlung 
farbig 


der  Puder-mantel 


die  Gesellschaft 

der  Kirkle 
der  Kenner 


die  verboteneu 
W  a  a  r  e  n  ,  die 
Schmuggelwaare 

der  Contrast 

der  Convent,  das 
Kloster 

stilisirt 

der  Chorrock 
das  Kupfer 
Koptisch 
die  Copie 

copiren,  abzeichnen 
die     Schnur,  das 
Schniirchen 


der  Kork 
die  Ecke 

das    kurze  Chor- 

hemd 
das     man  nach 

Hause  nimmt 
die  Baumwolle 
aufnahen,  flach 

nahen 


zusammenkuppeln 


der  Hof 
die  Decke 

die  Halsbinde,  die 
Kravatte 

die  Rahmfarbe 


die  Falte 


44 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Crescent 
Crochet,  to 

Crochet-hook, 

Shepherd's  Hook 

Crochet  -  knitting, 
Tunisian  knit- 
ting, Victorian 
knitting 

Crochet  thimble : 
see  Thimble  for 
crochet  work 

Cross,  to 

Cross-section  paper, 

point  paper 
Cross-stitch 


Crown 

Crown  (of  a  bon- 
net), bob 

Crowns,  pin  work, 
spines,  thorns : 
see  Rosettes 

Cuff,  wristband : 
see  Ruffle 


Curtain :  see  Win- 
dow shade 
Curve 

Cushion  (sofa)  :  see 

Pillow 
Cut,  to 

Cutwork 

Cutworks,  lead- 
works,  lerd 
works :  see  Tuft 

Cylinder 


FRENCH 

le  croissant 
crocheter 

le  guipoir,  le  cro- 
chet 

le  crochet-tricot,  le 
crochet  tunisien 


croiser 

le  papier  quadrille 

le  point  croise\  le 
gros  point 

la  couronne 

le  fond  de  bonnet 

les  couronnes 


la  manchette,  le 
parament,  le 
parement  (turn- 
over) 

le  rideau 

la  ligne  courbe 

le  coussin,  le  car- 

reau 
couper 

le  point  coupe" 

les  points  d'esprits 


le  cylindre,  le  rou- 
leau, la  b  o  u  1  e 
tournante 


ITALIAN 

la  luna  crescente 
ricamare    a  unci- 

netto 
l'uncinetto 

9 


incrociare 
? 

il  punto  croceato, 
il  punto  lungo,  il 
punto  croce 

la  corona 

la  forma 

i  ornamenti 


il  manichetto 


la  cortina,  il  cor- 

tinaggio 
la  linea  curva 

il  cuscino,  il  guan- 

ciale 
tagliare 

il  punto  tagliato 
le  punta  armeletta 


il  cilindro 


SPANISH 

el  creciente 
hacer  crochet 

la  aguja  de  gancho 

el  crochet  de  Tunez 


cruzar 

el  papel  con  lineas 

cruzadas 
el  punto  cruzado 


la  corona 
la  coronilla 

el  ornamento 


el  pufio,   la  boca- 
manga 


la  cortina 
la  curva 

el  cojin,   el  almo- 

had6n 
cortar 

la  obra  de  bordado 
? 

el  cilindro 


GERMAN 

der  halbe  Mond 
hakeln 

die  Hakelnadel 

der  tunische 
Hakelstich 


kreuzen 

das  rechnen  Papier 
der  Kreuzstich 


die  Krone 
der  Boden 

das  Kronenwerk 


die  Manchette,  die 
Handkrause 


der    Vorhang,  die 

Gardine 
die  Krumme  Linie, 

die  Kriimmung 
das  Kissen 

schneiden, 

abschneiden 
die  durchbrochene 

Arbeit 
die  Karos  im  For- 

menschlag,  der 

getupfte  Tiill 
der  Zylinder 


 D  


Dalmatic 
Damask 


Dampen,  to,  mois- 
ten, to  :  see  Wet 
Danish  (adj.) 
Darn,  to 


Darner  (needle) 
Date 

Dealer,  trader 

Decorative 

Decrease,  to,  in- 
take, to,  dimin- 
ish, to,  take  in, 
to,  narrow,  to : 
see  Reduce,  to 


la  dalmatique 

la  toile  damassee, 
le  damasse,  le 
damas 

humecter 

danois  -e 

broder  en  reprise, 
repriser,  passe- 
filer 

l'aiguille  a  passer 
la  date 

le  commergant 

decoratif  -ve 
diminuer,  retrecier 


la  tonicelle,  la  dal- 

matica 
il  damasco 


umettere 
danese 

rammendare,  filo 
supra  punto 

l'infila  cappio 
il  giorno 
il  mercante 

decorativo 
diminuire,  scemare 


la  dalmatica 

el  damasco  de  hilo 

mojar 

dinamarques,  dan6s> 
zurcir 


la  aguja  de  zurcir 
la  data 

el    interventor,  el 

comerciante 
decorativo 
decrecer,  disminuir 


die  Dalmatika 
der  Damast 

befeuchten 

danisch 
stopfen 


die  Stopfnadel 
das  Datum 
der  Handler 

decorativ,  zieren 
vermindern,  abneh- 
men 


EXPLANATIONS  AND  NOMENCLATURE 


45 


ENGLISH 

Decree,  mandate, 
ordinance,  edict 

Denim,  denham 


Design :  see  Sub- 
ject 
Designer 

Devil's  Broth:  see 
Starch,  to 

Dexterity:  see 
Skill :  see  Exe- 
cution 

Diagonal 
Oblique 
Slanting 

Diagram  : 
Draft 

Diamond :  see  Lo 


see 
see 


see 


zenge 
Diamond  shaped 


Dicky-pot 
Difficult 
Dilettante : 

Amateur 
Dimension : 

Size 
Dip,  to,  soak, 

Discoloration 


see 


see 


to 


Disengaging,  de- 
taching, loosen- 
ing, releasing 

Disentangle,  to, 
untangle,  to :  see 
Undo,  to 

Doilie,  d'Oyley 


Dollar 


Dot,     tear  -  drop, 

polka    dot :  see 

Drop,  to 
Double  (adj.)  :  see 

Turn,  to 
Double  faced :  see 

Reversible 
Dozen 

Draft,  plan :  see 
Diagram :  see 
Laying  out 

Drawing  pin :  see 
Thumb  tack 

Drawn-work 


Drawn-worker, 

drawn-work 

maker 
Draw  out,  to,  pull 

out,  to 


FRENCH 
le  decret,  l'edict 


le  dessin 

le  dessinateur, 
dessinatrice 


ITALIAN 
il  mandato 


il  disegno 
il  disegnatore 


SPANISH 

el  mandato,  el  de- 
creto,  el  edicto 


la  tela  basta  y  re- 

sistente    de  al- 

godOn 
el  dibujo,  el  trazo, 

el  diseno 
el  dibujante,  el  di- 

senador 


GERMAN 

das  Decret,  das  Ge- 
setz,  die  Verord- 
nung 

eine  Art  grobes 
Baumwollenzeug 

die  Zeichnung 

der  Zeichner 


diagonal  -e,  oblique     diagonale  diagonal 
le  plan,  la  figure        il  piano,  la  pianta      el  diagrama 


schrag 


das   Diagram,  der 
Abriss 


en  carreau,  en  lo- 
sange 

? 

difficile 


plonger,  tremper 
la  decoloration 
le  degagement 


demeler 


le  sous-bol,  le  des- 
sous  de  vase,  la 
petite  nappe,  le 
napperon,  la  ser- 
viette de  dessert 

l'ecu 


le  pois,  la  larme,  le 
point 

double 

a.  double  face 

la  douzaine 

le    brouillon,  l'es- 

quisse,  l'ebauche, 

le  plan 


le  point  tire\  a  fils 
tir6s 

la  tireuse  de  fil 


tirer 


a  rombo,  romboide       de  figura  romboide  rautenformig, 

rhombus 

?  ? 


difficile 


bagnare,  tuffare, 

immergere 
il  scoloramento 

lo  scioglimento  dis- 
tacco 

strigare 


la  tovagliuola, 
mantilette 


dollare,  l'ecu 


la  gocciola,  il  punto 
lagrima,  il  pisello 

doppio 

doppio  faccia,  due 

visi 
la  dozzina 
il  disegno,  la  copia 


dificil,  dificultoso        schwer,  schwierig 


sumergir,  banar 
el  descoloramiento 
la 


la  desatadura, 
separaci6n 


desenredar, 
lazar 


desen- 


eintauchen,  ein- 
weichen,  tunken 

das  Verschiessen, 
die  Verfarbung 

die  Ablosung,  die 
Trennung 

entwirren 


la  servilleta 
quena 


pe-     das  Deckchen 


moneda  de  los  Es- 
tados  Unidos  y 
el  Canada,  el  es- 
cudo 

la  gotita 


doble,  doblado 

de  doble  cara,  de 

dos  caras 
la  docena 
el  diseno,  el  plan 


der 


il  punto  tirato,  la     los  calados 

sfilatura,  il  des- 

filato 
il  filatoro 


der  Thaler 


der  Tupfen, 
Punkt 

verdoppelt,  zv 

fach 
mit  zwei  Seiten 

das  Dutzend 
der  Entwurf 


die  Auszieharbeit 


la    perfiladora,    la     die  Fadenzieherin 
caladora 


tirare 


tirar 


ausziehen 


46 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


ENGLISH 
Dress 

Dressed  pillow 


Dressing,  stiffen- 
ing, sizing 

Drop,  to  (a 

stitch)  :  see  Dot 

Dry  (adj.) 
Dutch  (adj.) 
Duty,  tax 

Dyeing,  coloring 
Dyestuff :  see  Col- 
ored :    see  Ani- 
line 


Eagle 

Easy  (adj.) 

Ecclesiastical,  ec- 
clesiastic, sacer- 
dotal (adj.) 

Ecru,  unbleached 
(adj.)  :  see 
Blonde  :  see 
Cream 

Edging,  border :  see 
Selvage  :  see 
Bead  Edge 

Effigy 

Eighteenth  (adj.) 

Ell  (45  inches,  1% 
yards) 

Ellipse 

Embroiderer,  em- 
bellisher, em- 
broidery worker 

Embroidery 

Emery,  corundum 

End,  extremity 

English  (adj.) 

Enlarge,  to :  see 
Increase,  to 

Enrich,  to,  adorn, 
to,  embellish,  to : 
see  Light  up,  to 

Entertainer :  see 
Reader 

Epoch :  see  Period 

Establish,  to, 
found,  to 

Excelsior,  stuf- 
fing :  see  Bran : 
see  Sawdust :  see 
Cork 


Execution,  work- 
manship :  see 
Skill 

Expensive,  dear, 
costly  (adj.)  : 
see  Valuable :  see 
Rare 


FRENCH 
la  robe 

le  coussin  prepare, 
apprgte,  dispose, 
dresse 

l'appret,  Fempois 

lacher,  laisser  tom- 
ber,  laisser  cou- 
ler 

sec,  seche 

hollandais  -e 

le  droit,  l'impot 

la  teinture 
la  teinture,  le 
teint,  le  coloris 


ITALIAN 
la  gonna 

il  cucino  fatto  per 
incominciare 

l'apprechio 

lasciar  caseare 


secco 
olandese 

il  dazio,  la  gabella 

la  tinta,  la  tintura 
la  tintura 


SPANISH 
el  vestido 

la  almohadilla  lista 
para  comenzar 

la  cola 

perder  (un  punto) 


seco 

holandes 

el  derecho,  el  im- 

puesto 
la  tintoreria 
el  tinte 


GERMAN 
das  Kleid 

das  Kloppelkissen 
fertig  zur  Arbeit 

der  Leim 

fallen   lassen,  ab- 
gleiten 

trocken,  diirr 

hollandisch 

die  Taxe,  der  Zoll 

das  Farben 
der  Farbstoff 


 E— 


l'aigle 
facile 

ecclesiastique, 
sacerdotale 


l'{ 
facile 

ecclesiastico 


el  aguila 
facil 

eclesiastico 


der  Adler 
einfach,  leicht 
ecclesiastisch 


ecru  -e 


crudo  -a 


crudo,   que  no  ha 
sido  lavado 


la  dentelle,  le  bord,     il  pizzo,  il  orlo 
le  passement 

l'effigie,  l'image 
dix-huiti&me 

l'aune,  l'avant-bras, 

1.85  metres  (74 

inches) 
1'ellipse 
la  brodeuse 


l'effigie,  1'immagine 
diciottesimo,  deci- 

mottavo 
l'anna,  la  canna 


l'ellissi 


la  orla,  el  ribete 


la  efigie 
decimo  octavo 


la  ana 


el  elipse 
la  bordadora, 
ricamadora 


la 


das  Bortchen,  die 
Randspitze,  die 
schmale  Spitze 

das  Bildniss 

achtzehnt 

die  Elle 


die  Ellipse 


ia  broderie 
l'emeri 

le,  bout,  l'extremite 
anglais  -e 
agrandir 

enrichir,  orner,  em- 
bellir,  parer 


il  ricamo,  la  rica- 

'  matura 
il  smeriglio 
la  fine  estremita 
inglese 
aggrandire 

fatte  richo 


el  bordado,  la  bor- 

dadura 
el  esmeril 
el  cabo,  el  fin 
ingles 
agrandar 

enriquecer,  ador- 
nar,  embellecer 


die  Stickerei 

der  Schmergel 
das  Ende 
englisch 

erweitern,  vergros- 
sern 

ausschmiicken,  be- 
reichern 


etablir,  fonder,  in- 
stituer 

le  papier  a  copeaux 
d'emballage,  la 
tontisse  ligneuse 


la    fagon,  l'ex^cu- 
tion,  le  travail 

cher,  couteux 


stabilire 
l'ecelsore 


la  fettura,  l'esecu- 

zione,   il  lavoro, 

la  fattura 
dispendioso,  cara- 

mente,    a  gran 

prezzo 


establecer,  fundar 

la  madera  en  he- 
bras  y  virutas 
delgados  para 
empaquetar  y 
rellenar  col- 
chones 

el  trabajo 


costoso,  caro 


etabliren,  grunden 
die  Holzwolle 

die  Ausfuhrung, 
die  Arbeit 

teuer,  kostspielig 


EXPLANATIONS  AND  NOMENCLATURE 


FRENCH 
l'expert 

le  chas,  le  trou 
l'oeillet 


ITALIAN 


la  cruna 
il  spiraglio 


SPANISH 


l'esperto,  il  sperto,     el  experto 
il  sperimentato  * 


el  030 
el  ojete 


ENGLISH 

Expert :  see  Con- 
noisseur :  see  Au- 
thority 

Eye  (of  a  needle) 

Eyelet 


Factory  :  see 
Work-room 

Fair  :  see  Auction  : 
see  Celebration : 
see  Festival 

Falling  collar,  fall- 
ing band,  fall : 
see  Collar 

False  stitch,  false 
pinhole,  blind 
pin :  see  Omit : 
see  Repeat 

Fan 

Fancy,  fanciful, 
ornate  (adj.) 

Fancy  work 

Fan-shaped 

(adj.):  see 
Scallop 

Fascinator,  head- 
wrap  :  see  Man- 
tilla 

Fasten  off,  to, 
make  fast,  to, 
secure,  to :  see 
Tie  together,  to 

Felt,  baize 

Festival,  jubilee : 
see  Fair 


Fichu :  see  Ker- 
chief 

Fifteenth  (adj.) 

Filet,  netting,  caul 
lace 


Filigree 

Filler  in  of  point 


Filling,  plaiting, 

band  work 
Filling  maker :  see 

Maker 
Fine  (adj.) 
Fine  drawing 

Finger 

Finger     (4y2  in- 
ches) 


la  fabrique 
la  foire 


le  col   rabattu,  le 
rabato,  le  rabat 

? 


l'eventail 

faconne  -e,  orne  -e, 
de  fantaisie 

la     tapisserie,  la 

broderie 
en  eventail 


la  fanchon 


arreter 


le  feutre 

la  fete,  le  jubile 


quinzieme 

le  filet,  le  lacis,  le 
point  conte,  la 
resille 


le  filigrane 

la  remplisseuse 


le  mode,  l'ajour,  le 
jour 


fin  -e 

la  reprise  perdue 
le  doigt 

le  doigt  (18  milli- 
metres) 


la  fabbrica 

la  fiera,  il  mercato 
pubblico 

il  collare 


il  punto  false 


il  ventaglio 

di    fantasia,  affaz- 

zononato,  ador- 

nato 
il  ricamo 

a  ventaglio 


la  ciarpa 


arrestare,  fermare 


il  feltro 

la  festa 


quindicesimo 

il  lavoro  di  maglia, 
il  punto  a  maglia 
quadra,  il  moda- 
no,  il  punto  a 
maglia  quadrata 

la  filigrana 

la  rimendatrice 


al  giorno 


fino,  delicato 
? 

il  dito 
il  dito 


la    fabrica,  la 

manufactura 
la  feria 


el  cuello  caido 


el  paso  falso 


el  abanico 
de  c  a  p  r  i  c  h  0,  de 
gusto  fantastico 

la  obra  de  fantasia 

en  forma  de  aba- 
nico 

el  pafiuelo  de  ca- 
beza 

atar,  asegurar 


el  fieltro 
la  fiesta 


decimoquintcx 
la  red  cuadrada 


la  filigrana 

la    insertadora  de 
puntos 


el  modo 


fino,  delicado 

el  punto  perdido  de 

zurcido 
el  dedo 

la  longitud  del  de- 
do,  del  medio 


47 


GERMAN 

der  sach  Verstand- 
iger 

das  Nadelohr,  das 
Ohr 

das    kleine  Loch, 
das  Schnurloch 


das  Fabrikgebaude 

die    M  e  s  s  e  der 
Jahrmarkt 

der  Umlegekragen 


9 


der  Facher 
geschmiickt,  ver- 
ziert 

die  weibliche 

Handarbeit 
facherformig 


das  Kopftuch 


festmachen 


der  Filz 

das  Jubileum,  der 
Festtag,  das  Ju- 
beljahr,  das  Ju- 
belfest 


funfzehnte 

die  Netz  Arbeit, 
das  Filet,  der 
Gitterground,  das 
Netzwerk,  das 
Filett 

die  feine  Drahtar- 
beit 

die  Spitzenflicker- 
inn,  die  Spitzen- 
stecherinn,  die 
Spitzenausfuller- 
inn 

die  Fiille,  der  Ein- 
trag,  die  Fiillung 


fein 
? 

der  Finger 
der  Mass  von  4% 
Zoll 


48 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Finger-shield,  tai- 
lor's thimble 

Finisher,  refiner : 
see  Repairer :  see 
Ironer 

Finishing :  see  But- 
tonholing :  see 
Mending  of  faults 

Firmly,  steadily 

Fish-shaped  (adj.) 

Flange 

Flat  (adj.)  :  see 
Smooth 

Flax,  linum  usita- 
tissimum,  fine 
Levantine  flax 

Flax    comb :  see 

Heckler 
Flaxen :  see  Blonde 
Flemish  (adj.) 

Floss-silk,  sleine, 

sleided  silk 
Flounce,  furbelow, 

robing :  see  Frill 
Flower 

Flute,  to,  gauffer, 
to,  crimp,  to 


Fluting,  goffering, 
quilling:  see 
Quille 

Fold,  set :  see  Plait 

Foliated     (adj.)  : 
see  Scroll 

Footing,  bead  edge, 
heading,  bead- 
ing :  see  Selvage 

Forked  (adj.) 

Form,  shape,  con- 
tour 
Foundation 

Fourteenth  (adj.) 
Frame     ( embroid- 
ery) :  see  Hoop 

Fray,  to :  see  Ra- 
vel, to 

French  (adj.) 

Fresh,  clean 
(adj.)  :  see  New 

Fretwork  :  see 
Grille 

Frill,  cascade,  ja- 
bot :  see  Floun- 
ce :  see  Cravat 

Fringe 

Fuller's  earth, 
Whiting 


FRENCH 

le    de    ouvert,  le 

doigtier 
l'amneuse 

l'achevement 

fermement 
pisciform 

le  rebord,  la  saillie 
plat  -e 

le  lin,  l'afioume 


flamand  -e 
la  soie  plate,  la  flo- 
che 

le  volant,  le  godet, 

la  tournante 
la  fleur 

tuyauter,  gaufrer, 
froncer,  goudron- 
ner,  goderonner, 
gaudronner,  cre- 
per 

le  tuyautage,  le 
gaufrage,  d  e  s 
Turgaux 

le  pli,  la  pince 

en  feuilles,  feuille 
-e,  a  feuillages 

l'engrelure,  le  pied, 
le  bord,  la  bisette 

fourchu  -e,  en  four- 

che 
la  forme 

la  fondation 

quatorzieme 

le  metier  a  broder 


frangais  -e 
frais,  fraiche,  pro- 
pre 


le  jabot 


la  f range,  l'effile 
la  terre  a  foulon,  le 
bianco  d'Espagne 


ITALIAN 
il  ditale  aperto 

la    ricamatrice,  1' 
affinatrice 

la  ripassatura 


fermamente 
? 

la  sponda,  il  risal- 

to,  l'orlo 
piano,  piatto,  spian- 

to 

lino,  sorta  di  lino 
dell'Egitto 


fiammingo 

la   seta   crudo,  la 

zattera 
il  volante,  la  falba- 

la,  la  balza 
il  fiore 

piegare,  saldare  a 
connoneinli 


l'impressione  sulle 
stoffe 

la  piega 

a  fogliami 

il  merletto  ordina- 
rio 

biforcato,  forcuto 

la  forma 

il  fondamento 

quattordicesimo  -a 
il  telaio  da  ricamo 


francese 
fresco 


la  gola,  la  digiuna 


la  frangia 
la  terra  da  digras- 
sare  o  da  purgare 


SPANISH 

el  apoyadedos,  el 
dedal  de  sastre 

la  perfeecionadora, 
la  afinadora 

la  ultima  mano,  el 
perfeccionamien- 
to 

firmemente 
pisciforme 
el  realce 

llano,  piano 

el  lino 


flamenco 
la  seda  floja 

la  falbala 

la  flor 
rizar,  plegar 


el  rizado 

ladoblez,  elpliegue, 

la  plegadura 
batido  en  hojas 

el  ribete 
horcado 

la  forma,  la  figura, 

el  contorno 
el  fundamento,  la 

fundacion 
decimocuarto 
el  bastidor 


francesa 
fresco,  nuevo 


la  chorrera 
el  fleco 

la  tierra  de  batan 


GERMAN 

der  Schneider-Fin- 

gerhut 
die  Vollenderin 

? 

fest 

fischformig 

die   Flansche,  der 

Rand 
flach,  ohne  Relief 

der  Flachs 


flamish 
der  Floss 

die  Falbel,  das  Ge- 

brame 
die  Blume 
goffrieren 


das  Goffrieren,  die 
Rusche 

die  Falte 

mit  Laubwerk 

der  Kantensaum 

gabelformig 
die  Form 
der  Grund 

vierzehnte 

der  Stickrahmen, 
der  Nahrahmen, 
das  Tamburin 

franzosisch 
frisch,  rein 


der    gefaltete  Bu- 
senstreif 

die  Franse 
die  Walkererde,  die 
Tunche 


EXPLANATIONS  AND  NOMENCLATURE 


49 


ENGLISH 


Galloon,  Orris,  Ar- 
ras 

Gather,  to,  pucker, 
to 

Gauge :  see  Mesh- 
stick 
Gently 

Geometric  (adj.) 
German  (adj.) 

Gimp,  rib,  trolly, 
cordon :  see  But- 
tonholing :  see 
Outlining  thread : 
see  Raised 

Gingles,  jingles, 
beads 

Glazed,  shiny,  glos- 
sy, lustrous 
(adj.):  see 
Smooth 

Glove 

Gold 

Gothic  (adj.) 
Grille,  fretwork,; 

lattice 
Groove 

Ground,  grounding, 
field,  background : 
see  Net 

Grounder,  maker  of 
grounds,  ground- 
worker 

Guimpe    (child's)  : 

see  Wimple 
Guipure 


Gum  Arabic 
Gusset,  mitre 


Hair,  locks,  tress- 
es :  see  Horse- 
hair 

Hairpin  (for  cro- 
cheting) 

Half  stitch,  half 
throw,  half  pass 

Hand 

Handkerchief 
Handle,  holder 

Handmade  (adj.) 

Handsome :  see 
Rich :  see  Beauti- 
ful :  see  Pretty 


FRENCH 


l'Arras,  le  galon 

froncer,  coulisser 

la  jauge,  la  mesure 

doucement 

geomStrique 
allemand  -e 

le  cordonnet,  la 
nervure,  le  fil  de 
crin,  le  guimp, 
la  brode,  le  cor- 
don 

la  cliquette,  la  per- 

le  de  verre 
glace  -e,  lustre  -e, 

luisant  -e,  vitre 

-e 

le  gant 
Tor 

gothique 

la  grille,  la  grecque, 

la  treillis 
la  ramure,  l'entaille 

le  fond,  le  champ,  1' 
entoilage,  le  treil- 
le,  le  fondement 

la  foneuse,  la  ga- 
zeuse,  la  gaziere, 
la  reseleuse,  la 
fondeuse 

la  guimpe 

la  guipure 


la  gomme  arabique 
le  gousset,  la  mitre 


les  cheveux,  les 
tresses 

la  fourche 

le  demi  point,  la 
passe  de  filet,  la 
grillee 

la  main 

le  mouchoir 

le  manche,  la  poig- 

nee,  l'anse 
fait  a  la  main 


ITALIAN 

 G  

il  gallone,  il  fregio 

increspare,  piegare, 

raggunzare 
la  misura  staza 

leggermente,  dolce- 

mente 
geometrico 
tedesco 

il  cordoncino 


il  peso  che  si  attac- 

ca  alle  fuselli 
lustrato,  lucente 


il  guanto 

l'oro 

gotica 

la  rete,  la  reticella 

l'antro  profondo,  la 
scanatura 

il  fondo 


colui  o  colei  che 
fabbrica  veli 


la  guimpa 

il  ghipur,  il  merlet- 
to  in  rilievo 


la  gomma  arabica 
quadratelli 

 H  

la  treccia  di  capel- 
li,  il  capello,  la 
ciocca  di  capelli 

la  forca,  il  bidente 

il  mezzo  punto 


il  mano 

il  fazzoletto,  il  moc- 

cichino 
l'impugnatura,  il 

manico 
fatto  a  mano 


SPANISH 


el  gal6n,  el  ribeci- 

llo 
fruncir 

la  vara 

dulcemente 

geometrico 
germanico,  aleman, 

tudesco 
el  cord6n 


el  peso  que  se  une 

a  los  palillos 
lustroso,  glaseado 


el  guante 
el  oro 
gotico 
el  calado 

la  ranura 

el  fondo 


el  que  hace  los  fon- 
dos 


el  camisolin  de  mu- 
jer,  el  canesu 

la  puntilla  de  hilo 
fuerte  en  que  los 
dibujos  enlaza- 
dos  forman  el  ti- 
su  sin  fondo 

la  goma  arabica,  el 
agua  de  goma 

el  escudete,  el  ingle- 
te 


los     cabellos,  la 
trenza 

la  horquilla 

la  semi  puntada 


la  mano 
el  panuelo 

el  mango,  el  pufio 

hecho  a  mano 


GERMAN 


die  Tresse 

falten,  in  Falten 

legen 
das  Mass 

sanft 

geometrisch 
deutsch 

die  Gimpe,  der  TJm- 
rissfaden,  das) 
Bandchen 


die  Glasperlen 

glanzend,  schim- 
mernd 


der  Handschuh 

das  Gold 

gothisch 

das  Gitterwerk 

die  Rinne 

der     Grund,  der 
Spitzengrund 

die  Spitzengrund- 
macherin 


das  L'atzchen 
die  Guipure 


das  Gummi  Arabi- 
cum 

der  Zwickel,  die  In- 
ful,  die  Mitra 


die  Haar-Locke 


die  Haarnadel 

der  Halbschlag,  der 
Gympenschlag, 
der  Netzschlag 

die  Hand 

das  Taschentuch 

der  Griff 

mit  der  Hand  ge- 
macht 


50 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


ENGLISH 

Hangers:  see  Pas- 
sive pairs 
Hang  up,  to 
Hank 

Head 

Head-dress,  tower, 
head,  Fladdal, 
fallals 

Heading :  see  Foot- 
ing 

Head  worker,  su- 
pervisor 


Heart 

Heaviness,  dull- 
ness:  see  Showy 

Heckler,  flax  comb, 
hatchel 

Hem 

Hemp 

Heraldic  (adj.) 
Hexagonal  (adj.) 

Holder :  see  Handle 
Hole 


Honeycomb 
Hood:  see  Bonnet 
Hook 


Hoop,      tambour : 

see  Frame 
Horizontal  (adj.) 
Horn  (adj.) 
Horsehair :  see 

Hair 

Hot    (adj.)  :  see 

Warm 
Housewife,  kit 

Hunting 


Imbricated :  see 

Overlapping 
Imitation 
Inch 

Increase,  to,  add, 
to;  see  Enlarge, 
to 

Index  finger 
India  ink 


Indian  (adj.) 
Initial 

Ink 

Insertion:  see 
Beading 


FRENCH 


pendre,  suspendre 
la   botte,  la  poig- 

n6e,  la  pantine 
la  tete 

la     fontange,  la 
commode 


la  maitresse-ou- 
vriere,  le  chef 
d'atelier 

le  coeur 
la  matite 

le  seran,  la  seran- 

Qoie,  rafflnoir 
l'ourlet 
le  chanvre 

heraldique 
hexagonal  -e,  hexa- 
gone 

le  trou 


le  gateau  de  miel, 
la  rayon  de  miel 

le  capuchon,  la 
capeline 

le  crochet,  le  gui- 
poir,  le  croc,  la 
croche 

le  cercle,  le  tam- 
bour 

horizontal  -e 

de  corne 

le  crin 

chaud  -e 

le  nScessaire 

de  chasse 


limitation 
le  pouce 
augmenter 


l'index 

Fencre  de  Chine 


indien  -ne 
l'initiale 

l'encre 

l'entredeux,  la 
bande 


ITALIAN 


sospendere 
la  matassa 

la  testa,  il  capo 

l'acconciatura  di 
capo 


la  capo-maestra,  il 
capo  bottega 


il  cuore 
il  cattivo 

il  pettine  da  lino 

l'orlo 

la   canapa,   il  ca- 
nape 
araldico 

esagonale,  esagono 


il  forame,  il  buco, 
il  pertugio,  la 
bucca 

il  faxo,  il  fiale 

la  bauta,  il  cap- 

puccio 
l'unoine,  l'uncinetto 


il  tamburo,  l'ordi- 
gno  da  ricamare 
orizzontale 
di  corno 

il  crine  di  cavallo 
caldo 

la  cassetta  da  viag- 

gio 
di  caccia 


l'imitazione 
il  pollice 

aumentar,  ampliare 


l'indice 

l'inchiostro  di 
China 

indiano 
Tiniziale 

l'inchiostro 

la  trina,  Tinser- 
zione,  rentemel- 
le,  il  passamano 


SPANISH 


colgar 
la  madeja 

la  cabeza 

el  tocado 


la  primera  oficiala 
de  un  taller  de 
mujeres,  la  en- 
cargada 

el  coraz6n 

la  pesadez,  la  es- 
tolidez 

el  rastrillo 

el  ribete 
el  canamo 

heraldico 
hexagono 


el  agujero,  el  agu- 
jerito 

el  panal 

la  toca 

el  gancho 


el  bastidor,  el  aro 

horizontal 
de  cuerno 
la  crin  de  caballo, 

la  crin 
caliente 

el  costurerito 

de  caza 


la  imitaci6n 
la  pulgada 
acrecentar,  alargar, 
aumentar 

el  dedo  indice 

la   tint  a   de  la 

China,   la  tinta 

China 
indio 
la  inicial 

la  tinta 
el  entredfis 


GERMAN 


aufhangen 
der  Strang 

der      Kopf,  die 

Spitze 
der    Aufsatz,  die 

Bandschleife  auf 

dem  Kopfe 


die  Vorsteherin,  die 
erste  Arbeiterin 


das  Herz 

die  Schwerfalligkeit 

die  Hechel 

der  Saum 
der  Hanf 

heraldisch 
sechseckig 


das  Loch 


die  Wachsscheibe, 

die  Honigwabe 
die  Haube 

der  Haken,  das 
Hakchen,  das 
Hakelhaken 

der  Reif,  das  Tam- 
burin 

horizontal 

aus  Horn,  hornen 

das  Rosshaar 

heiss 

das  Nahkastchen 
Jagd  (spitzen) 


die  Nachahmung 
der  Zoll 

vermehren,  vergros- 
sern 

der  Zeigefinger 
die  Tusche 


indisch,  indianisch 
der  Anfangsbuch-1 

stabe 
die  Tinte 
der  Einsatz 


EXPLANATIONS  AND  NOMENCLATURE 


51 


ENGLISH 

Instrument :  see 
Tool 

Insular  (adj.) 

Interlace,  to,  en- 
twine, to 

Interline,  to 
Intersect,  to 

Introduce,  to 


Inventory 


Irish  (adj.) 
Iron,  to 

Ironer :  see  Finish- 
er 

Isabel  (adj.)  :  see 
Cream  colored : 
see  Ecru 

Italian  (adj.) 

Ivory 


FRENCH 


insulaire 

entrelacer,  accoler 


entredoubler 
entrecouper 

introduire 


l'inventaire 


irlandais  -e 

repasser 

l'affiqueuse 

isabelle,  de  couleur 
isabelle 

italien  -ne 
l'ivoire 


ITALIAN 


isolano 

collegare,  intrec- 
ciare,  intralci- 
are,  frammettere 

? 

intersecare,  attra- 

versare 
introdurre 


l'inventar 


irlandese 

stirare,  soppressare 
la  stiratrice 

isabella,  sauro 


italiano 
l'avorio 


SPANISH 


insular,  isleno 
entrelazar,  entre- 
mezclar 

entretelar 
entrecortar 

establecer,  presen- 
tar 

el  inventario 


irlandes 
planchar 
la  planchadora 

de  color  isabelino, 
amarillo  parduz- 
co 

italiano 

el  marfil 


GERMAN 


insularisch 
durchflec  hten, 
durchweben 

zwischenfutten 
durchschneiden, 

durchkreuzen 
vorstellen,  bekannt 

machen,  einfuh- 

ren 

die   Inventur,  das 
Inventarium,  das 
Bestandsver- 
zeichniss 

irisch,  irlandisch 

platten,  bugeln 

die  Platterin,  die 
Biigelerin 

isabellenfarbig,  isa- 
bellfarbig,  mis- 
farbig 

italienisch 

das  Elfenbein 


Jabot:  see  Cravat 
Japanese  (adj.) 

Join,  to :  see 
Couple,  to 

Joiner  of  lace  (per- 
son) 

Joining-stitch :  see 
Sewing 

Jubilee :  see  Cele- 
bration :  see  Fes- 
tival 


le  jabot 
japonais  -e 

raccorder 

la  raccrocheuse 


la  gola 
giapponese 

accordare 

l'accordatrice 


la  gola 
japones 

enganchar 

el  enganchador 


japanisch,  japane- 

sisch 
zusammenstucken 

der  Aufhanger,  der 
Anhanger,  der 
Verbinder 


Kerchief,  fichu :  see 
Fascinator 

King 

Knee  -  scarfs  :  see 

Boot-tops 
Knife 

Knit,  to 


Knitter 

Knitting-needle 

Knitting  pin,  nee- 
dle end,  knitting- 
sheath,  support, 
knitting  shield 

Knot :  see  Noose  : 

see  Tie,  to 
Knotted  work :  see 

Macrame' 


le  fichu,  la  fanchon, 
la  marmotte,  le 
couvre-chef 

le  roi 


le  couteau 
tricoter 


le     tricoteur,  la 

tricoteuse 
1' aiguille  £  tricoter, 

la  broche 
Taffiquet,  le  porte- 

aiguille 


le  noeud 


 K  

il  fisciu,  il  fazzo- 
letto  di  capo  da 
donna 

il  re 


il  cotello 

lavorare  all'ago, 
lavorare  a  mag- 
lia 

il  calzettago 

il  ferro  da  calza,  il 
ferro  da  calzetta 

il  cannello  pei  fer- 
ri  da  calza 


il  nodo,  il  groppo, 
il  gruppo 


el  panuelo 


el  rey 


el  cuchillo,  el  cor- 

taplumas 
hacer  media,  tejer 


el  calcetero,  el  te- 
jedor 

la  aguja  de  hacer 
medias  6  de  malla 

el  palillo  sujeto  a 
la  cintura  para 
apoyar  la  aguja 
de  hacer  calceta 

el  nudo 


das  Brusttuch 


der  Konig 


das  Messer 
stricken 


der  Strieker,  die 
Strickerin 

die  Stricknadel, 
der  Strickstock 

die  Strickscheide, 
die  Stricknadel- 
halter,  das  Strick- 
nadelrohr,  das 
Nadelholz 

der  Knoten 


52 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


ENGLISH 


Lace,  pearlin, 
pearling 


Lace-bark  tree,  La- 
getta  Lintearia 
(vegetable  lace) 

Lace-maker,  lace- 
worker 

Lace  turn :  see 
Winding  machine 

Lace  up,  to 

Lacing,  string, 
cord :  see  Cap- 
string 

Lamb 

Lambrequin,  man- 
tle-cloth :  see 
Tidy 


Lapel,  revers 
Lappet,  tab,  pinner 

Layette 

Laying  out :  see 
Outlining :  see 
Setting  :  see  Lay 
out,  to :  see 
Draft 

Lay  out,  to;  block 
out,  to ;  stake 
out,  to ;  mark 
out,  to ;  appor- 
tion, to :  see 
Laying  out 

Leaf,  paddle,  seed, 
grain,  wheat  ear, 
lozenge :  see  Tuft 

Leaf-stitch,  mat- 
ting-stitch :  see 
Tuft 

Learn,  to 

Left  (adj.) 

Length 

Lesson 

Letter 

Light,  illumination 
Light,  fluffy  (adj.) 
Light  up,  to ; 
lighten,  to ;  in- 
crease the  high 
lights,  to ;  set  off, 
to ;  enhance,  to  : 
see  Enrich,  to 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


la  dentelle,  le  pas-     il  merletto,  la  trina     las  puntillas,  el  en-     die  Spitze 


sement 


le  bois  dentelle,  le 
laget 


(narrow)  (cuts, 
pinkings,  pinch- 
ings)  il  pizzo 
(tips,  peaks) ,  il 
passamano,  il 
fimboice,  gli  mer- 
li  (little  turrets, 
battlements),  il 
tarnete 


caje 


la  dentelliere 


la  lavoranta 
merletti 


in     la  encajera 


der  Spitzenklop- 
pler,  die  Spitzen- 
macherin 


lacer 

l'entrelac,  la  ficelle, 
le  cordon 

l'agneau 

le  dessus  de  che- 
minee,  le  man- 
teau  de  cheminee 


le  revers 
la  barbe 

la  layette 

le  trace 


allacciare 
il  groppo 


il  agnello 

il  fregi  d'intaglio 


la  mostra  d'un  abite 
la  falda,  la  bandel- 
la 

le  fasce,  i  pannol- 
lini 

la  traccia,  la  mo- 
stra 


lacear 

el  cordon  de  enlace 


schnuren 
die  Schnur 


el  cordero,  el  bor-     das  Lamm 

rego 
el  em  an  tele  te 


la  solapa 

las  caidas  de  toca 

los  panales 

la  traza 


die  Kaminbeklei- 
dung,  das  Zacken 
oder  Bogen  Be- 
hange,  die  Bek- 
leidung  als  Zim- 
merschmuck. 
der  Aufschlag 
der     Zipfel,  der 

Haubenflugel 
die  Ausstattung  fur 
ein  kleines  Kind 
das  zur  Schau  le- 
gen,  das  Heraus- 
legen 


jalonner  abbozzare,  indicare,     marcas  los  contor-     verteilen,  die  Richt- 

piantar  delle  bif-        nos  punkte  aufstel- 

fe  len,  auszeichnen, 

abstecken 


le  petale 


l'armelletta,   il  fo- 
glio 

la  punta  armeletta 


la  hoja,  el  petalo 
el  empalletado 


das  Blatt 


der  Formenschlag 


apprendre 

gauch  -e 
la  longueur 
la  legon 

la  lettre 
la  lumi&re 
leger  -ere 

eclairer,  decharger 


imparare,  appren- 
dere 

sinistro,  mancino 
la  lunghezza 
il  lezione 

la  lettera 

la  luce,  la  lume 

leggero 

balenare 


aprender 

izquierda  siniestra 
la  longitud 
la  lecci6n 

la  carta 
la  luz 
ligero 

alumbrar,  aligerar 


lernen 

linke 
die  lange 

die    Aufgabe,  die 

Lehrstunde 
der  Buchstabe 
das  Licht 
leicht 

erleichtern,  aus- 
laden 


EXPLANATIONS  AND  NOMENCLATURE 


53 


ENGLISH 

Line :  see  Row 
Linen  apparel,  lin- 
gerie 

Linen    chest :  see 

Chest 
Linen  closet 
Linen  cloth :  see 

JSfapery 
Linen  house,  white 

goods  house 
Linen    press :  see 

Press 
Linen-stitch :  see 

Cloth-stitch 
Linen  thread 
Linen  trade 

Lint 

Little  finger 
Livery 

Lobster  claw :  see 

Puff  iron 
Long  (adj.) 
Long,    column  or 

treble  stitch 
Loom 

Loop :  see  Pearl 

Loop-maker,  ring- 
let-maker 
Loop  row,  first  row 

Loose,  slack  (adj.) 
Lozenge,  diamond 


FRENCH 

la  ligne 
la  lingerie 


l'armoire  a  linge 
la  toile  de  lin,  le 

linon 
la  maison  de  blanc 

la  presse 


le  fil  de  lin 
la  toilerie 

la  charpie 

le  petit  doigt,  l'au- 

riculaire 
la  livree 


long  -ue 
la  bride 

le  metier  a  tisser 
la  bride,  la  boucle, 

la  ganse,  la  bou- 

clette 
la  boucleuse 

? 

lache 

le  losange 


ITALIAN 
la  linea 

la  biancheria  del 
corpo,  i  panni 
lini 


la  guardaroba 
la  tela  di  lino 

la    casa    di  bian- 
cheria 
il  strettoio 


il  refe 

il     commercio  di 

biancheria 
il  filaticcio 
il  dito  mignolo,  il 

dito  auriculare 
la  livrea 


lungo 

il  punto  lungho 

il  telaio  da  tessere 
la  maglia 


la  cordoncinatrice 
? 

lento,  allentato 
il  rombo 


SPANISH 
la  linea 

la  ropa  blanca 


el  armario 

la  tela  de  lino,  el 

lienzo 
la  lencerla 

la  prensa 


el  hilo  de  lino 

el  comercio  de  lien- 

zos 
el  lino 

el  dedo  menique 
la  librea 


largo 

el  punto  largo 
el  telar 

el  lazo,  el  rizo 


el  que  hace  el  rizo 

la  primera  Hnea  de 

aros 
suelto,  destado 
el  rombo 


GERMAN 
die  Linie 

die  weisse  Wasche 


der  Leinenschrank 
die  Leinwand,  das 

Leinen 
die  Weisswaren- 

handel 
die  Leinenpresse 


der  Leinenfaden 
der  Leinwandhan- 
del 

die  Charpie 

der  kleine  Finger 

die  Livree 


lang 

das  Stabchen 

der  Webstuhl 
die    Schlinge,  die 
Oesen,  die  Osen 

der  Oesenmacher 

das  Aufschlag 

los 

die  Rhomboide,  der 
Rhombus 


Machine  net 


Macrame",  knotted 

work,     filet  de 

Carnasifcre 
Maker  of  modes  or 

jours,  filling 

maker 
Making,  working 

Making     of :  see 

Pricking  of 
Maltese  (adj.) 

Mantilla:  see  Fas- 
cinator 
Mantle 


Manufacturer 


Mark 

Mark  out,  to:  see 
Lay  out,  to 


le  tulle  mecanique, 
le  tulle  fait  a  la 
machine 

le  macrame,  l'en- 
trelacs,  le  filet 
de  Carnasi&re 

la  modeuse 


l'execution,  la  con- 
fection 


maltais  -e,  de  Mal- 
te 

la  faille,  la  mantil- 
le 

le  manteau,  la  man- 
te 

le  fabricant,  le  ma- 
nufacturer 

la  marque 


 M  

il  tulle,  il  tulle  mecj 
canico 

il  punto  a  groppo 


la  giornotrice 


il  costruzione 


malteze 

la  mantilla 

il  sopreveste,  il  so- 
prebito,  il  man- 
tello 

il  fabbricante,  il 
fabbricatore,  il 
manifatturiere 

la  marca 


el  mecanico 

el  encaje  Moresco 

el  hacedor  de  pun- 
tos  de  fantasia 

la  hechura,  el  tra- 
bajo,  la  ejecuci6n 

maltes 

la  mantilla 

el  manto,  la  capa 

el  fabricante 

la  marca 


das  Maschinen 
Netz 

die  Kniipfarbeit 


die  Fullungmach- 
erin 

die  Vollziehung,  die 
Ausfuhrung 

malthesisch 
die  Mantille 
der  Mantel 

der  Fabrikant 

die  Marke,  das  Mai, 
das  Merkmal 


54 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Marking  out,  divid- 
ing, laying  out, 
indicating,  stak- 
ing, staking  out 

Mask 

Mate,  companion- 
piece 

Materials,  furnish- 
ings 

Matting-stitch :  see 

Leaf-stitch 
Measure :  see  Tape 

measure :  see 

Mesh  stick :  see 

Ruler 
Medallion,     inset : 

see  Square 


Mediaeval,  medie- 
val (adj.) 
Mend,  to 

Mending  of  faults: 
see  Repairing : 
see  Finishing 

Mercerised  (adj.) 

Mesh 

Mesh-stick,  mold : 
see  Gauge :  see 
Measure :  see 
Ruler 

Metallic  (adj.) 

Mexican  (adj.) 

Middle :  see  Centre 

Middle  finger 

Mirror:  see  Pene- 
lope 

Mitre:  see  Gusset 
Model 

Modern  (adj.)  :  see 

New 

Modesty  piece:  see 
Tucker 


Modify,  to 
Mohair,  alpaca 

Moisten,    to :  see 

Dampen,  to 
Monogram 
Moon 

Mosaic,  tesselated 

(adj.) 
Mother-of-pearl 

Mount,     to :  see 

Transfer,  to 
Mummy  wrappings 
Museum:  see  Col- 
lection 
.Mythological  (adj.) 


FRENCH 

la  jalonnement,  la 
division 


le  masque,  le  loup 
le  pendant 

les  materiaux,  les 
fournitures,  l'ou- 
tillage 


la  mesure 


l'incrustation,  l'ap- 
plique 


du  moyen  age 

raccomoder 
le  regalage 


mercerise"  -e 
la  maille 

le  moule,  l'ais  a  fai- 
re  des  filets,  la 
planche  a  faire 
les  filets 

metallique 

mexicain  -e 

le  doigt  majeur,  le 
melius 


le  modele 
moderne 

la  garniture  de  cor- 
sage 


modifier 

le  mohair,  l'alpaga 


le  monogramme 

la  lune 

en  mosa\'que 

la  nacre 

monter,  entoiler 

les  draps  de  momie 
le  musee 

mythologique 


ITALIAN 
il  divisione 


la  maschera,  il  lupo 
il  riscontro 

le  forniture,  li  ma- 
teriali 


la  mesura 


l'incrostatura,  l'in- 
crostamento,  gli 
pezzi  da  incasta- 
re,  gli  pezzi  da 
intarsiare 

il  medio  evo 

raccomodare 


lucido 

lamaglia,  lamaglia 

di  rete 
il  asse,  la  tavola  di 

legno 


metallico 
messicano 

il  medio,  il  dito  me- 
dio 


il  modello,  il  esem- 

plo 
moderno 

la  garnitura  di  cor- 
sagio 


modificare 
l'alpaca 


il  monogramo 
la  luna 
mosaico 

la  madre  perla 

montare  un  lavoro 

? 

il  museo 
mitotogjco 


SPANISH 
el  senalado 

la  mascara 
el  companero 

los  avios,  los  mate- 
riales 


la  medida 


el  embutido,  el  me- 
dallon 


de  la  edad  media 

remendar,  reparar 
el  corregido  de  fal- 
tas 

lustroso 

la  malla 

el  molde 


metalico 
mejicano 

el  dedo  del  medio 


el  modelo 
moderno 

el  encaje  de  costi- 
11a,  una  blonda 
que  se  pone  a  los 
vestidos  en  la 
parte  superior 
del  pecho 

modificar 

la  alpaca 


el  monograma 
la  luna 
mosaico 

el  nacar,  la  madre 

perla 
montar 

la  ropa  de  momia 
el  museo 

mitol6gico 


GERMAN 

das  Abstecken,  das 
Markieren 


die  Maske 

das  Gegenstiick 

die  Materialien,  das 
Arbeitsmaterial 


das    Linead  zum 
gleichmassigen 
Einstecken  der 
Stecknadel 

das  Spitzen-Medal- 
lion,  der  Spitzen- 
Einsatz 


mittelalterlich 

ausbessern,  Sicken 
die  Ausbesserung 

mangelhafter 

Spitzen 
mercerisiert,  merce- 

riert 
die  Masche 

der  Strickstab,  der 
Strickstock 


metallisch 
mexikanisch 

der  Mittelfinger 


das  Muster 
modern 

der  Streifen  an  ei- 
ner  Schnur 


abandern 

das  Haartuch,  der 
Mohr 


der  Namenzug 
der  Mond 
mosaikartig 

die  Perlmutter 

aufziehen 

das  Mumiengewand 
das  Museum 

mythologisch 


EXPLANATIONS  AND  NOMENCLATURE 


55 


ENGLISH 


Nail :    see    Tack : 
see  Thumb  tack 

Nail  (2%  inches) 


Name 

N  apery,  linen  goods  : 
see  Linen  cloth 
Napkin 

Narrow  (adj.) 
Naturalistic  (adj.) 
Needle 

Needlecase,  needle 
book :  see  Case 

Needle  ends,  pro- 
tectors 
Needleful,  a 
Needlepoint  lace 

Needle  threader, 
threader  (instru- 
ment) 

Needle-work 


Net:  see  Ground 


Netting-needle 

Network,  darned 
netting,  spider 
work :  see  Spid- 
er 

New  (adj.)  :  see 
Fresh :  see  Mo- 
dern 

Nightcap 

Nineteenth  (adj.) 

Noose,     slip-knot : 

see  Knot 
Norwegian  (adj.) 


Oblique  (adj.)  :  see 

Diagonal 
Oblong  (adj.) 


Ochre,  ocher 
Oil 

Oil     cloth,  wax 

cloth 
Olive  (adj.) 


FRENCH 


le  clou 


? 


la  denomination,  le 
nom 

la  napperie,  la  nap- 
pe 

la  serviette 

6troit  -e 

naturaliste 

l'aiguille 

l'6tui  a  aiguilles,  le 
porte  -  aiguille,  1' 
aiguillier 

? 

une  aiguillee 
la  dentelle  a  l'ai- 
guille 

9 


l'ouvrage  a  l'aiguil- 
le, la  tapisserie, 
l'ouvrage  de  da- 
mes 

le  rgseau,  ?  dros- 
chel,  le  rezel,  le 
rezeuil,  le  raz- 
zeuil,  le  tulle 

la  navette 

le  lacis,  le  filet  bro- 
de\  le  point  conte* 


neuf,   neuve,  nou- 
veau,  nouvelle 

le  toquet 
dix-neuvi&me 

le  noeud  coulant 

norvegien    -ne,  de 
Norvege 


oblique 

de  forme  oblongue, 
de  figure  oblon- 
gue 

l'ocre,  1' ochre 

l'huile 

la  toile  cir6e 
d'olivier 


ITALIAN 
 N  

il  chiodo,  il  chiovo, 
il  aguto,  il  chia- 
vello 

il  ottavo  (misura) 


il  nome 

la  biancheria  da  ta- 
vola 

la  salvietta,  la  to- 

vagliuola 
stretto 
naturalista 
el  ago,  il  aco 
il  agoraio,  il  agaio- 

ulo,  il  buzzo 

el  agugliato 
il  trino  ad  ago 

? 


il  lavoro  ad  ago 


il  rete,  il  redexelo 


il  spillo  di  fare  rete 

il  lavoro  di  maglia, 
il  punto  a  ma- 
gliata 

nuovo 


il  berrettino 
diciannovesimo,  de- 

cimonono 
il  nodo  scorsoio 

norvegio 


 O  

obliquo 

oblungo,  bislungo 


il  octa,  l'ocria 
l'olio 

la  tela  incerata 
d'oliva 


SPANISH 


el  clavo 


la  medida  de  dos 
pulgadas  y  cuar- 
to,  6  la  diecisei- 
sava  parte  de 
una  vara 

el  nombre 

la  mantelerfa 

la  servilleta 

estrecho,  angosto 
naturalista 
la  aguja 
el  alfiletero 


el  porta-agujas 

la  hebra 
la  punta 

el    ensartador  de 
agujas 

la  labor  de  aguja, 
la  costura 


el  rete 


la  aguja  de  tejer 

redes 
la  obra  de  malla 


nuevo,  nuevecito 

el  gorro  de  dormir 
decimonono 

el  lazo 

noruego 


obtfcuo 
oblongo 


el  ocre 

el  61eo,  el  aceite 
el  encerado,  la  tela 

encerada 
de  oliva 


GERMAN 


der  Nagel 


das  Mass  von  2% 
Zoll 


der  Namen 

das  Tafelzeug,  das 

Leinzeug 
die   Serviette,  das 

Tellertuch 
enge,  schmal 
naturalistisch 
die  Nadel 
die  Nadelbuchse, 

das  Nadelbuch 

die  Strickstiefel 

eine  Nadel-Voll 
die  Nadelspitze 

die  Nadel  Einfas- 
serin 

die  Handarbeit,  die 
Nadelarbeit 


das  Netz,  der  Netz- 
grund 


die  Netz-Nadel 
das  Netzwerk 


neu 


die  Nachtmutze 
neunzehnte 

die  Fadenschlinge 

norwegisch 


schrag,  schief 
langlich,  oblong 


der     Ocher,  der 

Oker 
das  Oel 

das  Wachstuch,  die 

Wachsleinwand 
oliven 


56 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Omit,  to,  skip,  to : 
see  False  stitch 
Open  (adj.) 
Openwork 


Organdie,  organdi- 

muslin 
Ornament 


Orphrey,  clavi 
Outer  pairs 

Outline,  to :  see 
Outlining :  see 
Wheel 

Outlining :  see  Out- 
lining thread : 
see  Buttonhol- 
ing :  see  Laying 
out:  see  Setting: 
see  Gimp :  see 
Outline,  to 

Outlining  thread, 
outline:  see 
Gimp :  see  But- 
tonholing 

Over,  above,  upon 

Overcast,  to,  whip, 
to,  over-sew,  to 

Overlapping,  im- 
bricated (adj.) 

Overs 


Padding 
Pair 

Pall,  cloak 


Pall,  covering :  see 
ChaUce  cover- 
ing 

Panel 

Parallel  (adj.) 

Parasol,  sunshade 

Parchment,  vellum : 
see  Pattern 

Passementerie 

Passive  pairs,  pas- 
sives, hangers 

Paten-cover :  see 

Chalice  cover 
Patronage 

Pattern,  diagram : 
see  Parchment 


FRENCH 

passer,  omettre, 

sauter 
ouvert  -e 

l'ouvrage  a  jour,  Y- 
ouvrage  a  claire- 
voie 

l'organdi,  l'organ- 

dis 
l'ornement 


l'orphroi 

les  paires  exterieu- 
res 

cerner,  scilloner, 
border,  echelon- 
ner,  batir 

l'entourage 


le  fil  de  trace,  le  fil 
de  contour,  le 
bati 

au-dessus,  sur 

surjeter,    faire  un 

sur jet  a 
imbrique  -e,  imbri- 

ce  -e,  enchevau- 

che  -e 
le  jete 


le  bourre,  l'ouate 
la  paire 
le  pallium 


le  poele,  le  drap 
mortuaire 

le  panneau 

parallele 

le  parasol 

la  cartisane,  le  par- 
chemin 

le  passement,  la 
passementerie 

les  paires  pendan- 
tes,  les  paires  de 
chafne 


le  patronage 

le  patron,  le  trace 


ITALIAN 
omettre,  trascurare 
aperto 

il  lavoro  a  giorno 


l'organdi 

il  ornamento,  il 
adornamento,  il 
fregio 

P 

bastimentare 


l'orditura 


il  filo  di  traccia 


sopra,  di  sopra,  ol- 

tre,  sulla 
cucire  a  sopraggit- 

to 

imbricato 


? 


la  borra 
il  paio 
il  pallio 


il  coltre,  il  panno 
da  morti 

el  assicello 

parallelo,  equidis- 

tante 
il  parasole 

la    pergamena,  la 
cartapecora 

il  passamano 


il  patronezgo 

la  mostra,  il  cam- 
pione 


SPANISH 

pasar  por  alto,  omi- 

tir 
abierto 
calado 


el  organdi 
el  ornamento 


la  clava 

los  pares  exteriores 
perfilar 


el  contorno,  el  per- 
fil 


el  hilo  de  perfil 


sobre 

hilvanar 

imbricado 


el  punto  por  enci- 
ma 


la  guata,  la  borra 
el  par 

el  palio  de  arzobis- 
po 

el  pano  de  ataud, 
el  pano  mortuo- 
rio 

el  cuarteron 
paralelo 

el  quitasol,  el  para- 
sol 

el  pergamino,  la  vi- 
tela 

la  pasamaneria 
el  par  pasivo 


el  patrocinio,  el  pa- 

tronato 
el  modelo 


GERMAN 
iiberspringen 
offen 

die  Durchbroch-Ar- 
beit 

der  Organdi 

die  Verzierung 


die  Keule 
die  Drehpaare 

in  Umriss  zeichnen 


der  Umriss 


der  Umrissfaden 


iiber,  auf 

iibernahen,      u  m  - 

schlingen 
dachziegelformig 


das  Umschlagen 


das  Unterlegen 
das  Paar 

der  Bischofsman- 
tel,  der  Talar, 
das  Pallium 

das  Pallium,  das 
Leichentuch 

das  langlische 

Stiick 
parallel,  gleichlauf- 

end 

der  Sonnenschirm 

das  feine  Kalbsle- 
der,  das  Perga- 
ment,  das  Velin 

die  Passementerie 

die  Risspaare 


das   Patronat,  die 
Begiinstigung 

das    Muster,  das 
Spitzenmuster, 
der  Spitzenmodel 


EXPLANATIONS  AND  NOMENCLATURE 


57 


ENGLISH 
Pattern  maker 

Pearl:  see  Loop 


Pearl-maker 

Pearl-tie,  bar, 
strand,  bridge, 
coxcomb,  leg, 
pearl,  half-wheel, 
tie,  bride :  see 
Bar 


Pearl-tier 
Peasant 

Peddler,  hawker 
Peg,  plug 


Pen 
Pencil 

Penelope  mirror 

Period,  epoch :  see 

Century 
Petticoat 

Pewter 
Photograph 

Pick  up  (a  stitch), 
to 

Pillow  (lace)  :  see 
Cushion  (sofa) 

Pillow    lace :  see 

Bobbin  lace 
Pillow  sham 


Pillow  slip,  pillow 
case,  pillow-bier, 
pillow-beer,  pil- 
lowebere 

Pin 

Pin,  to :  see  Stick 
in,  to 


Pincushion 
Pinhole 
Pink,  to 


FRENCH 

la  patronneuse,  le 

patronneur 
le  picot,  la  boucle 


la  picoteuse 
la  bride 


la  brideuse 


la     paysanne,  le 
paysan 


le  colporteur,  le  ca- 

melote 
la  cheville,  l'epin- 

gle  de  bois 

la  plume 

la  crayon 

le  mirroir  Penelope 

l'epoque 

le  jupon 

l'etain 

la  photographie 


le  coussin,  le  car- 
reau,  le  metier 


la  manche  de  para- 
de ?,  le  cache 
oreiller 

la  taie  d'oreiller 


1' epingle 

mettre  une  epingle, 
piquer  une  epin- 
gle, poser  une 
epingle 

la  pelote  a  epingles 

le  trou  d' epingle,  la 
porte 

faire  des  oeillets, 
trouer,  percer  un 
Stoffe,  decouper 
suivant  un  des- 
sin,  chequGter 


ITALIAN 
la  zoccolaja 

la  smerlatura,  il 
dentello,  l'orlatu- 
ra  di  ricamo 

la  smerlatrice 

la  bride 


la  bridetrice  ?,  la 
legatrice 

il  paesano,  il  conta- 
dino 


il  merciaiuolo 

la  caviglia,  la  ca- 
vicchia,  il  piulo, 
il  brocco 

la  penna 

il  pennello 

10  specchio  di  Pene- 
lope 

l'epoca 

la  gonnella,  la  gon- 
nellina 

11  peltro,  il  stagno 
la  fotografia 


relever,  reprendre  rialzare 


il  tombolo,  il  cus- 
cino,  il  guanciali- 
no 


la  fodera,  la  fode- 
retta 


la  spilla 
pungere 


il   guanciallino  da 

spilli,  il  torsello 
la  bocca  da  spilli 

foracchiare,  bucac- 
chiare  una  stoffa 
a  disegno 


SPANISH 

el  hacedor  de  mode- 
los 

la  puntilla,  el  pi- 
quillo 

la  picadora 

la  ligadura,  los  hi- 
los  que  conectan 
las  varias  partes 
s61idas  del  enca- 
je,  hecho  de  dos 
o  mas  cabos  que 
son  o  bien  como 
cordones  o  cu- 
biertos  con  pun- 
tos  de  remate  o 
bordes 

la  aseguradora 


la  aldeana,  el  aldea- 
no,  el  patan,  el 
labriego,  el  cam- 
pesino 

el  buhonero,  el  ba- 
ratillero 

la  estaquilla,  la  cla- 
vija 

la  pluma 
el  lapiz 

el  espejo  de  Peng- 
lope 

la  epoca,  el  periodo 

la  falda  bajera  o  de 

barros 
el  peltre 
la  fotografia 

recoger  (un  pun- 
to) 

la  almohadilla  para 
hacer  encajes 


la  cubierta  de  ador- 
no  para  almoha- 
da 

la  funda  de  almoha- 
da 


el  alfiler 

prender  con  alfile- 
res,  asegurar 


el  acerico 
el  agujero 
ojetear,  picar 


GERMAN 

die  Musterzeichne- 
rin 

das  Picot 


die  Oesermacherin 
das  Bindeband,  das 
Schlosschen 


die  Festigmacherin 
von  Alengonner 
Spitze 

der  Bauer,  der 
Landmann 


der  Hausirer 
der  Pflock 


die  Schreibfeder 
der  Pinsel 
der  Penelope  Spie- 
gel 

der  Zeitraum,  die 

Periode 
der  Unterrock 

das  vermischte  Zinn 
die  Photographie, 

das  Lichtbild 
wieder  aufnehmen 

das  Kissen,  das 
Koppelkissen,  der 
Kloppelsack 


die  Kissendecke 


der  Kissenuberzug 


die  Stecknadel 
stecken 


das  Nadelkissen 

der  Stecknadel 

Punkt 
auszacken,     a  u  s  - 

schneiden 


58 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Pinner :    see  Lap- 
pet 

Plain :  see  Simple 
Plait,  braid,  tresse : 

see  Fold 
Plait,  to,  braid,  to 
Plaiting :  see  Fill- 
ing 

Platform  of  pillow 

Plume,   tuft,  pan- 
ache 

Ply  (single), 
strand 

Point,       vandyke : 
see  Scallop 


Poking  stick 
(iron),  setting- 
stick,  strut 
(wood  or  bone)  : 
see  Puff  iron 

Polish,  to 

Polychrome  (adj.) 
Position 

Pound  sterling 
Press :     see  Puff 

iron :   see  Linen 

press 
Pretty  (adj.)  :  see 

Beautiful 
Price 

Pricker,  marker 
( instrument)  : 
see  Stiletto 

Pricker,  marker 
(person) 


Pricking,  parch- 
ment, down,  each 

Pricking  or  mak- 
ing of 

Professional  (adj.) 

see  Expert :  see 

Authority 
Prong 

Pucker :  see  Crease  : 
see  Gather,  to 

Puff  iron,  lace  awl, 
polishing  iron, 
agate,  raiser,  lob- 
ster claw,  bur- 
nisher :  see  Pok- 
ing stick :  see 
Press 

PuU,  to 

Pull  over,  to :  see 

Slip  off,  to 
Pupil 

Puppet,  doll,  man- 
ikin 


FRENCH 


la  tresse,  la  natte 
tresser,  natter 


la  planche,  la  plate- 
forme 
le  panache 

le  pli 

la  crete 


la  broche,  le  baton 
a  plisser  les 
fraises  ou  les 
manchettes,  le 
composteur,  le 
potelet 

polir 

polychrome 

la  position,  la  pose 

lalivre  (25  francs) 
le  lissoir 


joli  -e 
le  prix 

la  pointe,  l'aiguille 
a  piqueter 

la     pointeuse,  la 
piqueuse 


le  pique,  le  carton- 
guide,  le  passe- 
ment 

le  piquage,  la  pi- 
qure,  le  picage, 
le  piquetage 

professionel  -le, 
professionale 

la  dent  de  fourchon 


l'oeuf,  le  fer  a  can- 
nonier,  le  fer  a 
coque,  l'alesoir, 
la  pince,  l'aficot 


tirer,  serrer 
rabattre,  rabattre 

les  mailles 
l'eleve 

la  marionnette,  le 
Courrier  de  la 
Mode,  la  poupee 


ITALIAN 


la  treccia 
intrecciare 


l'assa,    la  piatta- 

forma 
il  ^pennacchio 

la  piega 

la  cresta,  il  dente 


pulire,  lustrare, 

lisciare 
policroma 

la    posa,    la  posi- 
tura,  il  posizione 
la  lira  sterlina 
el  lisciatoio 


leggiadre,  gentile, 

vezzoso 
il  prezzo 
il  ago  da  forare 


la  chi  cuce,  che  chi 
sia  di  strapunto 


il  pizzicore,  li  piz- 
zilli,  il  cartone 

il  frastaglo 


professionale 


il  rebbio 


il  puffiture,  le 
branche  dei  gam- 
beri 


tirare 

abbassare,  scemare 
il  scolare 
il  manichino 


SPANISH 


la  trenza,   el  cor- 

doncillo 
trenzar 


la  plataforma 
el  penacho 
la  doblez 

el  cuello  de  encaje 
Van  Dyke 


el  instrumento  de 
hueso  o  madera 
que  se  usa  ajus- 
tando  los  pliegues 
de  una  lechuguil- 
la 

pulir  (agujas) 
policromo 

la  positura,  la  pos 
tura,  la  posicion 
la  libra  esterlina 
el  satinador,  el  lus- 
trador 

bonito,  lindo 

el  precio 
el  punzon 


el  que  pica,  el  mar- 
cador 


la  picadura 


la  picadura 


professional 


la  punta 


el  esponjador 


tirar 
cruzar 

el  discipulo 

el  maniqul 


GERMAN 


der  Flechtenschlag, 

die  Flechte 
flechten 


das  Kloppelbrett 

der  Federbusch,  der 

Helmfederbusch 
einfach 

die  ausgezackte 
Spitzen,  das 
Zackchen,  die 
Spitze 

das  Stabchen 


poliren,  glatten 
bunt 

die  Lage,  die  Stel- 
lung 

das  Pfund  Sterling 
?  Weissholzer,  die 
Glattmaschine 

hiibsch 

der  Preis 

die  Pickiernadel 


die  Punktierin,  die 

Musterdurchpau- 

serin,  der  Locher- 

stecher 
der  Kloppelbrief, 

das  Muster,  "die 

Aufwinde" 
das  Durchstechen, 

des  Musters  auf 

Pergament 
berufsm'assig 


die  Zinke 


der  Puffer,  das  Bii- 
gel,  ?  Kobben, 
der  Glattstahl, 
der  Glatter,  die 
Hummerschere 


ziehen 

verschranken 

der    Schiiler,  die 

Schiilerin 
die     Puppe,  die 

Marionette 


EXPLANATIONS  AND  NOMENCLATURE 


59 


ENGLISH 

Purl,  to  ;  seam,  to, 
reverse,  to 


FRENCH 
tricoter  a  Tenvers 


ITALIAN 

far  la  calza  a  mag- 
lia  a  volta 


SPANISH 
perfilar 


GERMAN 
links  stricken 


Quality 

Qnatrefoil 

Queen 

Quick  (adj.) 
Quille:  see  Fluting 


Quilling:  see  Flitt- 
ing 

Quilter :  see  Stitch- 
er 

Quilting :  see 
Wadding 

Quincunx 
Quiver,  sheath 


Raised,  embossed 
(adj.)  :  see  Gimp 

Raiser :  see  Puff 
iron 

Rare  (adj.)  :  see 
Expensive :  see 
Valuable 

Ravel,  to ;  fray, 
to  ;  unravel,  to  ; 
reave,  to ;  reeve, 
to ;  unweave,  to 

Ravellings 

Razor-cloth :  see 
Combing  cloth 

Reader,  lay-sister, 
entertainer,  non- 
worker 

Realistic  (adj.) 

Reduce,  to ;  lessen, 
to  ;  diminish,  to  : 
see  Decrease,  to 

Reel,  to ;  wind,  to 

Refiner :  see  Fin- 
isher 

Removing,  loosen- 
ing, detaching : 
see  Rip,  to 

Renascence,  re- 
birth 

Repairer  of  breaks 
and  faults :  see 
Finisher 

Repairing,  repara- 
tion :  see 
Strengthening : 
see  Mending 

Repeat,  to ;  see 
False  stitch 

Reticular,  retiform 
(adj.) 

Reversible  (adj.)  : 
see  Double  faced 


la  qualite 

les  quatre-feuilles 

la  reine 

leste,  vite 

la  campane,  la 
houppe,  la  touffe, 
la  ruche 


la  pique,  le  mate- 


le  quinconce 
le  carquois 


en  relief,  bombe  -e 


effiler,  effiloquer 


le  parfilage,  la  par- 

filure,  l'effilure 
le  linge  a  barbe 

la  beate 


realiste 
reduire 


devider 

l'enlevage 

la  renaissance 
la  regaleuse 


le     ravaudage,  le 
remaillage 


repeter 

retiforme 

a  deux  endroits 


 q  

la  qualita 

le  quatro  foglio 

la  regina 

lesto,  snello,  spedi- 
to 

la  frangia,  il  mer- 
letto  piegato  en 
forma  di  arnia 


la  calidad 
el  cuadrifolio 
la  reina 

veloz,  acelerado, 

ligero 
el  pliegue  en  forma 

citfndrica 


die  Qualitat 
das  Vier-blatt 
die  Konigin 
schnell 

die  Troddel, 
Quaste 


die 


la  stoffa  cosi  detta,     la  cajera,  el  picado     das  Steppen 
l'imbottir,  il 


trapunto 
la  quinconce 
la  faretra 

 R  


el  quincunce 
el  carcaj 


in  relievo,  rose,     en  relieve 
rilevato 


raro 


das  Quincunx 
der  Kocher 


erhaben 


selten 


sfilare,  sfilacciare        deshilar,  desenlazer    auftrennen,  aufzieh- 

en 


gli  filacce 


la  hilacha 


Ausgezuptes,  ausge- 
zogene  Faden 

il  cencio  da  barba      el  babadero,  el  ba-     das  Bart-Tuch 
bador 

il  leggitore,  il  man-     la  lectora  ? 
tenitore 

realista 
ridurre 


realista 
reducir 


realistisch 
vermindern 


addipanare 
il  levare 


devanar 
el  soltar 


il   risorgimento,   il     el  renacinniento 

rimascimento 
la  regalatrice 


haspeln,  aufwinden 
das  Wegnehmen 
die  Renaissance 


el     reparador,     el     der  Ausbesserer 
apisonador 


il  racconciamento        la  reparaci6n 


ripetere,     ricomm-  repetir 
ciare 

rete  reticular 


die  Ausbesserung, 
das  Ausbessern 


wiederholen 
netzformig 


rivocabile 


que  admite  posicion  umkehrbar 
6  direccion  opue- 
sta 


60 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Rib  :  see  Raised  : 
see  Gimp 

Ribbon :  see  Stir- 
rup 

Rice 

Rich,  handsome 
(adj.)  :  see  Beau- 
tiful: see  Pretty 

Right  hand  side 

Right  side,  front 

Ring 

Ring  finger 
Rinse,  to 

Rip,  to 
Rococo  (adj.) 

Rod :  see  Bar 
Rolling,  whipping 


Rose 

Rosette  (general 

use) ,  rose 
Rosettes  (minute 

threadworks)  : 

see  Crowns 
Rough  (adj.) 

Row :  see  Line : 
see  Band 

Royal  (adj.) 

Rubbing:  see  Trac- 
ing 

Ruff 

Ruffle,  hand  ruff, 
parte :  see  Guff 

Ruler :  see  Tape 
measure :  see 
Mesh-stick:  see 
Measure 

Runner :  see  Ta- 
blecover 

Russian  (adj.) 

Rust,  to 


Sacramental  (adj.) 

Saint  Ann 
Salary 


Sample 

Sampler,  sam  cloth 


Sand 

Sawdust :  see  Ex- 
celsior 
Scale,  proportion 


FRENCH 


le  ruban 

le  riz 
riche 


decoudre 

Rocaille,  Barocco, 
Roccoco,  rococo 

le  point  route" 


la  rose 

la  rosette,  le  noeud 

les  couronnes,  les 
fleurs  volantes, 
les  rosaces 

rude,  6bouriffe  -e 

le  rang,  le  tour 

royal  -e 
l'impression 

la  fraise,  la  roton- 
de 

la  manchette,  l'en- 
gageante,  la  pa- 
gode 

le  tire-ligne,  le  re- 
gie, le  reglet,  la 
reglette 

le  chemin  de  table 

russe 

rouiller,  se  rouiller 


de  benediction 

la  Sainte  Anne 
les  appointements, 

le  traitement,  les 

honoraires 
l'echantillon 
l'exemplaire 

le  sable 

la  sciure,  la  sciure 

de  bois 
l'echelle 


ITALIAN 


il  nastro 

il  riso 
ricca 


scucire 
rococo 


il  arrotolamento  ? 


la  rosa 

la  rosetta,  la  gala 
le  cornoa 


rozzo,   rude,  abba- 

ruffato 
l'ordine,  la  fila 

reale,  regio 
Pimpressione,  l'im- 

pronto 
il  collare  alia  spag- 

nuola 
il     manichino,  il 

manichetto 

il  stecche 


la  striscia 
russo 

arrugginire,  arrug- 
ginirsi,  irruggini- 
re 

de  benedizione 

Sabbia  Anna 
l'onorari,  la  sportu- 
la,  la  ricompensa 

il  campione 
l'esemplare 


la  lazanta 
la  segatura 

la  scala,  il  propor- 
zioni 


SPANISH 


la  cinta  de  seda 

el  arroz 
rico 


derecha 

el  lado  derecho 
el  clrculo,  la  cera, 

el  anillo 
el  dedo  anular 
enjuagar 

rasgar,  hender 
churriguersco 

el  enrollado,  el  en- 
rollamiento,  el 
arrollado,  el  arol- 
lamiento 

la  rosa 

la  rosa,  la  roseta 

la  rosa,  la  roseta, 
el  roset6n 

erizado,  encrespado 

la  fila,  la  llnea,  la 

hilera 
real 

el  frotamiento 

la  lechuguilla 

la  vuelta,  el  pufio 


la  regla 


el  tablero 
ruso 

enmohecerse 


sacramental 

Santa  Ana 
el  salario 


la  muestra 
el  ejemplar 


la  arena 
el  serrin 

la  escala 


GERMAN 


das  Band 

der  Reis 
reich 


rechts 

die  Rechterseite 
der  Ring,  der  Kreis 

der  Ring  Finger 
auswaschen,  aus- 

spulen 
auftrennen 
rococo 


der  Rollsaum 


die  Rose 
die  Rosette 

die    Rosetten,  die 
Rosette 

rauh,  roh,  uneben 

die  Reihe 

koniglich 
der  Abdruck 

die  Krause 

die  Manschette,  die 
Handkrause 

das  Lineal 


der  Tischlaufer,  der 

Laufer 
russisch 

rosten,  verrosten 


sacrementlich,  sa- 

crementarisch 
die  Heilige  Anna 
die  Besoldung,  das 
Gehalt 

das  Muster 

das  Modelltuch,  das 

Musterblatt,  das 

Sticktuch 
der  Sand 
das  Sagemehl 

der  Masstab 


droit  -e 
l'endroit 

l'anneau,   le  rond, 

le  cercle 
le  doigt  annulaire 
rincer 


destro 
il  ritto 
il  anello 

il  dito  anulare 
sciacquare 


EXPLANATIONS  AND  NOMENCLATURE 


61 


ENGLISH 

Scallop  :  see  Point : 
see  Shell :  see 
Fan-shaped 

Scalloped  (adj.) 

Scarf:  see  Tidy 

School 
Scissors 

Scraps,  remnants 
Screen 

Screw :  see  Clamp 
Scroll  (spiral)  :  see 
Foliated 

Seal 

Secular, lay  (adj.)  : 

see  Reader 
Sell,  to 

Selvage,  selvedge : 
see  Edging :  see 
Footing 

Serpentine,  vermi- 
culate  (adj.) 


Set 


Setting :  see  Out- 
lining :  see  Lay- 
ing out :  see  Ap- 
ply, to 

Setting-stick :  see 
Poking-sticTc 

Setting  up  (of 
loose  petals) 

Seventeenth  (adj.) 

Sew,  to 

Sewing,  joining 
(lucky  stroke?), 
accroaching 


Shade :  see  Win- 
dow shade 

Shaded  (adj.) 

Shape :  see  Form 

Sharpen,  to ;  grind, 
to ;  whet,  to 

Sharps 


Shawl 


Sheath :  see  Cover- 
ing cloth :  see 
Case 


Sheet 

Shell:  see  Scallop 


FRENCH 
le  feston 


dentele  -e,  feston- 
ne  -e,  en  ecailles 

l'echarpe 

l'ecole 

les  ciseaux 

les  restes 

le  paravent 

la  vis 

l'enroulement,  l'en- 
jolivement,  le  rin- 
ceau 

le  cachet,  le  plomb 
seculier  -e,  laA'que 

vendre 
la  lisiSre 


serpentin  -e,  en  ser- 
pent, tortueux 
-se,  vermiculeux 
-se 

la  parure,  l'assorti- 
ment,  la  garnitu- 
re 

la  sertissure,  le  ser- 
tissage 


? 

dix-septieme 
coudre 

1  e  crochetage,  1  e 
raccrochage,  1  e 
point  de  raccord, 
le  point  de  rac- 
croc,  le  point  de 
rucroc 


ombre  -e,  nuance"  -e 
aiguiser 


le  chale 


l'Stui,  la  gaine,  le 
fourreau,  la  no- 
quette,  la  feuille 
de  corne,  la 
trousse 

le  drap 

la  coquille  de  St. 
Jacques 


ITALIAN 
il  festone 


a  festoni,  scaglia  di 

pesce 
la  sciarpa,  la  ciar- 

pa 
la  scuola 
gli  forbici 
il  avanzo,  il  resto 

il  paravento 

il  vite 

il  avvolgersi,  la  vo- 
luta,  il  incartoc- 
ciarsi 

il  piombo,  la  marca 

secolare,  laico 

vendere 
la  cimossa 


serpentina 


il  assetto 


la  incastonatura 


diciassettesimo,  de- 

cimosettime 
cucire,  cusire 
la  cucitura,  il  cuci- 

to 


digradato 
affilare,  aguzzare 
? 


lo  sciallo 


il  astuccio,  la  cus- 
todia,  la  busta 


il  lenzuolo 
la  chiocciola,  la  lu- 
maca 


SPANISH 
la  recortadura 


festoneado 

la  banda 

la  escuela 
las  tijeras 
los  restos 

la  pantalla,  el  biom- 
bo 

el  tornillo 
el  encaracolado,  el 
adorno  en  espiral 

el  sello 
secular 

vender 
la  orilla 


serpentino 


el  juego 


la  engastadura,  el 
engaste,  la  mon- 
tadura. 


la  montadura 
decimo  s6ptimo 
coser 

el  cosido,  el  engan- 
che 


sombreado 

amolar,  afilar 

la  aguja  de  coser 
de  forma  mas 
larga  y  mas  del- 
gada 

el  chal,  el  panolon, 
el  panuelo  gran- 
de 

la  vaina,  la  cubier- 
ta 


la  sabana 
la  concha 


GERMAN 

der  Bogen,  die  Zack- 
en 

ausgezackt,  ausge- 

kerbt 
die  Scharpe 

die  Schule 
die  Schere 
der     Abfall,  die 

Kleinen  Stucke 
der  Schirm 

die  Schraube 
der  Schnorkel 


das  Siegel 
weltlich 

verkaufen 
das   Salbende,  die 
Kante 

schlangen-artig 


die  Garnitur 


die  Einfassung 


das  Aufsetzen 

siebzehnte 

nahen 

das  Heften,  die  Zu- 
sammenhakelei, 
das  Zusammen- 
hakeln 


schattiert 
sch'arfen 

9 


der  Shawl,  der 
Schal 

das  Besteck,  das 
Futteral,  die 
Scheide 


das  Bettuch 
die  Muschel 


62 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


ENGLISH 
Shift,  to 

Short  (adj.)  :  see 
Squat 

Showy,  for  display, 
ostentati  ous 
(adj.)  :see Heavi- 
ness 

Shrink,  to 


Shuttle 


Sicilian  (adj.) 

Silk :  see  Blonde 
Silver 

Simple,  plain 
(adj.)  :  see  Easy 

Single  (adj.) 

Single  faced  (adj.) 
Single  stitch,  small 
close  stitch 

Sitza 

Sixteenth  (adj.) 
Size,  dimension 


Sizing,    stiffening : 

see  Dressing 
Skein 

Skill,  dexterity :  see 

Execution 
Skirt 

Slab 

Slanting  (adj.)  : 
see  Diagonal 

Slashed,  paned 
(adj.) 


Sleeve 
Slider 


Slip,  to 


Slip  off,  to :  see 
Pull  over,  to 

Slit,  opening,  line, 
band 

Slow  (adj.) 

Smock,  shift,  shirt 

Smooth  (adj.)  : 
see  Flat  :  see 
Glazed 

Smuggling 


FRENCH 

changer 
court  -e 

d'apparat 


se  retrecir,  se  rape- 
tisser,  retrecir 


la  navette 


sicilien  -ne,  de  Si- 

cile 
la  soie 
l'argent 
simple 


seul  -e,  simple 

a  simple  face 

la  petite  maille  ser- 

ree,  la  chaine  ser- 

ree 
?  sitza 
seizieme 

la      grosseur,  la 
grandeur 


l'echeveau 

l'habilete,  la  dexte- 

rite 
la  jupe 

la  plaque 

de  biais,  en  biais, 

incline  -e 
creve  -e,  a  creves, 

fendu  -e 


la  manche 

le  glissoir  de  corne 


glisser,  passer,  une 
maille  -un  point 
pour  le  repren- 
dre  le  tour  sui- 
vant 

glisser,  couler, 
lacher,  retourner 
la  riviere 

lent,  lente 
le  sarrau 

lisse,  uni  -e 


la  contrebande 


ITALIAN 

cambiare 
corto 

di  pompa,  ostenta- 
zione 


scorciare,  ritirarsi, 
diminuire 


la  spola,  la  spuola 


siciliano 

la  seta 
il  denaro 

semplice,  senzo  or- 
namenti,  senza 
fasto 

solo,  sola,  semplice, 

unico 
semplice 

il  semplice  piccolo 
punto 

?  sitza 
sedicesimo 
l'estenzione,  la  gros- 

sezza,  la  grandez- 

za 


la  matassa 

la  destrezza,  la  des- 

terita 
il   gonne,    la  gon- 

nella 
la  tavola 

a  sghembo,  a  sbie- 
co,  a  schiancio 

staffilato,  tagliato, 
sfregiare,  (aper- 
tura  nelle  mani- 
che  per  mostrare 
la  stoffa  al  diso- 
to) 

la  manica 

che  sdrucciola,  la 
passante 

sdrucciolare,  scivo- 
lare 


colare,  lasciare 

l'aperto 

lento 

il  pastrano,  il  gab- 
bano 

liscio,  piano,  unito 


il  contrabbando 


SPANISH 

cambiar 
corto 

ostentoso 


encogerse,  acortar- 
se,  disminuir 


la  lanzadera 


siciliano 

la  seda 
la  plata 

sencillo    -11a,  sim- 
ple 

unico,  solo 

de  una  cara 
el  punto  sencillo 


?  sitza 
decimo  sexto 
el  tamano,   la  di- 
mension 


la  made j  a 

la  habilidad 

la  falda,  la  saya 

la  plancha 
inclinado,  sesgado 

acuchillado 


la  manga 

la  plancha  corre- 
diza  transpar- 
ente 

perder  un  punto 
para  volver  a 
cogerlo 


deslizar 

la  abertura 

lento,  tardio 

la  blusa  de  obrero 

liso,  llano,  iguel 


el  contrabando 


GERMAN 

wechseln 
kurz 

prunkhaft 

t 

sich  zusammenzieh- 
e  n,  einschrump- 
fen,  zusammen- 
trocknen 

das  Weberschiff- 
chen,  der  Schiit- 
ze 

sizilianisch 

die  Seide 
das  Silber 
einfach 


einfach 
einseitig 

das  einfache  Stab- 
chen 

?  sitza 

sechzehnte 

der     Dicke,  die 

Grosse,  die 

Starke 


die    Strahne,  die 

Fitze 
die  Geschicklich- 

keit 
der  Rock 

die  Platte 
schief 

geschlitzt 


der  Aermel 
der  Schieber 


gleiten 


verschranken 

der  Schlitz 

langsam 
der  Kittel 

eben,  glatt 


der  Schleichhandel, 
des  Smuggeln 


EXPLANATIONS  AND  NOMENCLATURE 


63 


ENGLISH 
Soak,  to 


Soap 
Soda 

Soft  (adj.) 
Soil,  to 

Song,  verse,  tell 

Spanish  (adj.) 

Spider :    see  Net- 
work 
Spin,  to 
Spindle 


Splice,  to 
Spool 

Spray,  shoot,  ten- 
dril, sprig :  see 
Tack 

Sprinkled,  sown, 
powdered,  strewn 
(adj.) 

Square :  see  Medal- 
lion 

Squat,  dumpy, 

truncated 

(adj.)  see  Short 
Stake  out,  to :  see 

Lay  out,  to 
Stamp    out,    to ; 

round  out,  to : 

see  Puff  iron, 
Standing  collar, 

Medici  collar, 

standing    r  u  ff  : 

see  Collar 
Star 

Starch,  to  (Devil's 
Broth  —  early 
name  for  starch) 

Steel 

Steeping,  macera- 
tion 
Stencil 


Steps,   in    (adj.)  : 

see  Zigzag 
Stick  in,  to ;  put 

up,  to:  see  Pin, 

to 

Stiff  (adj.) 
Stiffening :  see 

Dressing 
Stiletto,  punch :  see 

Pricker 
Stirrup  :  see  Loop  : 

see  Ribbon 
Stitch 


Stitcher,  quilter, 
couch er 


FRENCH 
tremper 

le  savon 
la  soude 

mou,  mol  -le,  deli- 
cat 
souiller 

la  chanson,  le 

chant 
espagnol  -e,  d'Es- 

pagne 
l'araignee 

filer 

la  broche,  la  bo- 
bine,  la  casse 

episser 
la  bobine 

la  vrille,  le  brin,  la 
brandille,  le  rin- 
ceau 

seme  -e,  mouchete 
-e 

le  carre 
trapu  -e 


affiquer,  bosseler, 
refouler,  f a  i  r  e 
ressortir 

le  collet  montant 


l'etoile 

amidonner,  goud- 
ronner,  empesser 

l'acier 

le  rouissage 

le  patron,  le  poncif, 
le  poncis 

en  echelons 

enfoncer,  mettre, 
planter 

raide,  empese"  -e 


le  poingon 
? 

le  point,  la  passee 


la  piqueuse 


ITALIAN 

bagnare,  animol- 
lare 

il  sapone 
la  soda 
molle 

imbrattare,  ingroz- 
zare,  macchiare 

il  canto,  il  canzone, 
la  canzonetta 

spagnuolo 

il  ragno,  il  aragno 
filare 

il  fuso,  la  bobine, 
il  contraforte, 
l'infornapana 

? 

il  rocchetto 

il  viticcio,  il  cap- 
reolo 

seminato,  sparge- 
rato 

il  quadrado 

atticciato 


lavorar  d'incavo, 
fare  risaltare 

il  collare  Medici 


la  stella 
insaldare 


il  acciaio 

il  macerazione 

il  modello 


per  iscaglionli 
affondare,  fissare 


duro,  inflessibile 


il  punteruolo 
la  staffa 

il  punto,   la  pun- 
tura,  la  maglia 

la  piatrice,  il  ma- 
terassaijo 


SPANISH 
remojar 

el  jab6n 

la  sosa,  la  soda 

blando 

ensuciar 

la  cancion,  la  can- 

tinela 
espanol 

la  arana 

hilar 
el  huso 


empalmar 

la  canilla,  el  car- 
rete 

la  ramita,  el  pim- 
pollo 

goteado 


el  cuadro,  el  cuad- 

rado 
truncado 


dar  figura  redonda, 
realzar 

el  cuello  de  Medici 


la  estrella 
almidonar 


el  acero 

la  mojadura,  la  ma- 

ceraci6n 
el  patrCn  o  moddo 

calado   para  es- 

tarcir 
escalonado 

picar,  punzar 


tieso 


el  punzon 
el  estribo 

la  puntada,  el 
punto 

el  colchonero 


GERMAN 

durchnassen,  in  der 
Weiche  liegen, 
einweichen 

die  Seife 
die  Soda 
zart 

beschmutzen,  be- 

sudeln 
das  Lied 

spanisch 

die  Spinne 

spinnen 

der  Strickstock, 
der  Stengel,  die 
Spindel,  ?  Spille 

splissen 

die  Spule 

das  Reis 


sprenkelich,  spren- 
kelig,  fecken 

das  Viereck,  das 

Quadrat 
untersetzt 


aufstechen 


der  Medicikragen 


der  Stern 
starken 


der  Stahl 

das  Tunken,  das 

Tauchen 
die  Schablone 


staffelweise,  s  t  a  f- 

felformig 
einstecken 


steif 


die  Pfrieme 
der  Biigel 

die  Masche,  der 
Spitzenstich,  der 
Schlag,  der  Stich 

die  Stepperin 


64 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 
Stomacher 


Straight  (adj.) 
Strand 


Straw- 
Streaked,  striped, 
scored,  striated 
(adj.):  see 
Stripe 
Strengthening,  re- 
inforcing, back- 
ing: see  Repair- 
ing 

Stretch,    to ;  give, 

to  (intr.) 
Stretch,  to  ;  pull,  to 

(trans.) 
Stripe  :  see  Band  : 

see  Line:  see 

Streaked :  see 

Bar 

Stroke,  to ;  dispose, 
to 

Stroke 

Studio:  see  Work- 
room 
Study,  to 
Stuffed  (adj.) 

Style,  fashion 
Style,  manner, 
taste 

Subject :    see  De- 
sign 

Sumptuary  laws, 

Office  of  Pomp 
Sun 

Surplice,  stole 
Swaddling  band 

Swiss  (adj.) 
Symbol 
Symmetrical 
(adj.) 


Tablecloth 
Tablecover :  see 

Runner 
Tack,  sprig,  flat 

nail :  see  Nail 
Tailor's     thimble : 

see  Finger  shield 
T  a  1  i  t  h  ,  tallith, 

praying  scarf, 

mantel 
Tambor:  see  Hoop 
Tambor-work 

Tangle,  to ;  snarl, 
to 

Tape,  braid 


FRENCH 
le  corsage  lace 


droit  -e 

la  meche,  le  cordon 


la  paille  ) 
strie  -e,  raye"  -e 


le     rentoilage,  le 
renforcement, 
Taction  de  forti- 
fier 

preter,  s'elargir, 

s'etendre 
etendre,  tendre 

la  raie,  la  rayure 


striquer,  regula- 
riser 

le  trait 
l'atelier 

etudier 
rembourre  -e 

la  mode,  la  vogue 
le  style,  le  ton,  le 
cachet,  le  gout 

le  motif,  le  sujet 

les  lois  somptuaires 

le  soleil 
le  surplis 

la  bande  d'emmail- 

lottement 
suisse 
le  symbole 
symetrique 


la  nappe 

le  dessus  de  table, 

le  tapis 
la  semence,  la  bro- 

quette 


le  taled 


la  broderie  au  tam- 
bour 

emmeler,  entortiller 

le  ruban  de  fil,  la 
riviere  de  toile 


ITALIAN 

il  corpetto,  il  busto, 
la     pettiera,  il 

gustacuore 
dritto 

il  cordone,  il  cor- 
doncello,  il  cor- 
doncino 

la  paglia 

strisciato 


il  rinforzamento 


cedere 
stendere 
la  riga 


rendere,  regolare 


il  tratto 

10  studia 

studiare 
imbottirato 

11  modo,  la  voga 

il  tuono,  il  stile,  il 
gusto 

il  soggetto,  il  mo- 
tivo 

le  legge  suntuaria 

il  sole 

? 

la  fascia 

svizzero 
il  simbolo 
simmetrico 

la  tovaglia 
la  tavolina 

la  bullettina 


il  taled 


il  tambur 

scompigliare,  im- 

brogliare 
il  nastro  di  filo,  di 

lino,  di  cotone 


SPANISH 
el  peto,  el  corpifio 

derecho 

el  cabo,  la  hebra 


la  paja 
estriado 


la   ribeteadora,  la 
cosedora 


estirar 

extender,  estirar 
la  raya 


alisar,  igualar  los 
pliegues  con  la 
aguja 

el  toque 

el  taller 

estudiar 
llenado,  relleno 

la  moda 

la  manera,  el  gusto, 
el  tono 

el  motivo,  el  sujeto 

el  arreglo  suntuario 

el  sol 

el  sobrepelliz 

la  mantilla,  el 

panel 
suizo 

el  simbolo 
simetrico 


el  mantel 
el  tapete 

la  tachuele  sin  ca- 
beza 


el  talid 


el  tambor 
enredar 

la  cinta  de  lino  o 
algod6n 


GERMAN 
der  Latz 


gerade 

die  Ducht,  die  Kar- 
desle,  die  Schnur 
eines  Strickes 

das  Stroh 

streifig 


das  Verstarken 


sich  dehnen  lassen 

spannen 

der  Streifen 


ausrauhen 


der  Strich 
das  Atelier 

studiren 

gestopft,  v  o  1 1  ge- 

pfropft 
die  Mode 

der  Styl,  die  Man- 
i  e  r  ,  der  Ge- 
schmack 

das  Motiv 

die  Aufwandsge- 

setze 
die  Sonne 
die  Stola 
das  Wickelband 

schweizerisch 
der  Sinnbild 
symmetrisch,  eben- 

massig,  gleich- 

massig 


das  Tischtuch 
die  Tischdecke 

der  Stift 


der  Gebetmantel, 
der  Talar 


die  tamburirte  Ar- 
beit 
verwirren 

das  Zwirnband,  das 
Bandchen 


EXPLANATIONS  AND  NOMENCLATURE 

FRENCH  ITALIAN  SPANISH 

le  metre  en  ruban       la  inisura  la  cinta  para  medir 


ENGLISH 

Tape  measure, 
line:  see  Ruler: 
see  Measure 

Tassel:  see  Tuft 

Tatting 

Tatting  pin  and 
ring 


Tawdry,  trashy, 
poor,  ordinary, 
common  (adj.) 

Tea 

Teach,  to 

Teacher,  instructor 

Thick  (adj.) 
Thickness 
Thimble,  thummel, 

thumb-bell,  fin- 

gerling 
Thimble  for  crochet 

work,  crochet 

thimble 
Thin  (adj.) 
Thread 

.    ;  1 1   :i  l 
Threader:  see 
Needle  threader 
Thumb 

Thumb  tack,  draw- 
ing pin :  see 
Tack :  see  Nail 

Ticking 

Tidy,  chair-back : 
see  Scarf :  see 
Antimacassar : 
see  Lambrequin 

Tie  together,  to ; 
attach,  to :  see 
Couple,  to :  see 
Fasten  off,  to : 
see  Knot 

Tight,  taut  (adj.) 

Tighten,  to 


Tin,  white  metal 

Tippet 

Token,  coin 

Tool,    instrument : 

see  Apparatus 
Top 

Torn,  rent  (adj.) 

Tow 

Towel 

Towel  sham,  throw- 
over 


le  gland 
la  frivolite 


vilain  -e,  ordinaire, 
pauvre,  maigre, 
miserable 

le  th6 

enseigner 

l'institutrice,  l'in- 

stituteur 
epais  -se 
l'epaisseur 
le  de 

le  de  pour  le  cro- 
chet sur  metier 

mince 
le  fil 


le  pouce 
la  punaise 


la  toile  a  matelas, 

le  coutil 
le  dossier  pour  fau- 

teuils,  etc. 


attacher,  lier 


serre  -e,  tendu  -e 
serrer 


l'^tain,  le  ferblanc 

la  pelerine 

le  jeton,  le  gage 

l'instrument 

le  haut 
dechire  -e 
la  filasse 
l'essuie-main 

le  cache  linge 


la  nappa 
l'occhi 

? 


comunaio 
il  te 

ammaestrare,  is- 

truire,  insegnare 
1'istitutore,  l'isti- 

tutrice 
grosso,  fitto 
la  grossezza 
l'anello  da  cucire, 

il  ditale,  il  ditali 

chiuso 

? 


sottile,  leggiero 
il  filo,  il  refe 


il  pollice 
? 


il  traliccio 
l'antimacassar 


attaccare,  legare, 
legate 


stringato,  teso 
stringare 


il  stagno,  la  latta, 
il  ferro  stagnate 
la  pellegrina 

la  fiscia,  il  gettone, 

il  pegno 
l'istrumento,  l'or- 

digno 
l'alto 

squarciato,  lacerate 
la  stoppa  di  canapa 
l'asciumano,  la  sal- 

vietta 
il    ciocche  spende 

sopra 


la  borla,  el  borlon 

el  encaje  de  hilo 
hecho  &  m  a  n  o 
con  lanzadera 

el  alfiler  y  anillo 
usado  para  hacer 
encaje  de  hilo 
con  lanzadera 

sin  elegancia 

el  te 
ensenar 

el  maestro,  el  pre- 
ceptor 
espeso 
el  espesor 
el  dedal 


el  dedal  para  hacer 
crochet 

delgado 
el  hilo 


el  pulgar 
la  tachuela 


el  terliz 

la  funda  para  mue- 
bles 


atar,  ligar,  unir 


tieso,  bien  cerrado 
estirar 


el  estano,  la  lata 

la  esclavina 

la  medalla 

la  herramienta,  el 

instrumento 
el  encabezamiento 
rasgado 
la  estopa 
la  toalla 

la  cubierta  de  ador- 
no  para  toalla 


65 

GERMAN 

das  Bandmass,  das 
Rollmetermass 

die  Quasta 
das  Occhi,  die  Fri- 
volitaten 

? 


geschmacklos  ge- 
putzt,  flitterhaft, 
wertlos,  unniitz 

der  Tee 

lehren,  unterrich- 
ten 

die    Lehrerin,  der 

Lehrer 
dick 

die  Dicke 
der  Fingerhut 

der  hakel  Finger- 
hut 

diinn 

der  F  a  d  e  n  ,  der 
Spitzenzwirn, 
der  Zwirnfaden 


der  Daumen 
der  Reissnagel,  der 
xteisszwecken 

der  Zwillich 

das  Schutzdeck- 
chen,  der  Scho- 
ner 

zusammenbinden 


straff,  gespannt 
fester  machen, 

spannen,  anzieh- 

en 
das  Zinn 

der  Halskragen, 

der  Palatin 
das  Zeichen 

das  Werkzeug 

das  Obereteil 
zerissen 
der  Werg 
das  Handtuch 

das  tiberhandtuch 


66 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


ENGLISH 

Trace,  to ;  calk,  to ; 
rub,  to;  pounce, 
to 


Trace  through,  to 
Tracer 

Tracing:  see  Hul- 
ling 

Tracing  cloth,  pa- 
per: see  Carlon 
paper 


Transfer,  to :  see 
Mount,  to :  see 
Carlon  paper 

Transfer  paper :  see 
Carlon  paper : 
see  Tracing  cloth 

Trash,  camlet 

Tray 
Trefoil 

Tresse:  see  Hair: 

see  Plait 
Triangle 

Triangular  (adj.) 
Trimming,  guard- 
ing 

Triple,  treble  (adj.) 
Trousseau 
Truck  system,  pay- 
ment in  kind 
T-square 


Tucker :  see  Modes- 
ty piece 

Tuft  (raised),  By- 
zantine, Medici 
or  Florentine 
cutwork,  over- 
stitches  :  see  Tas- 
sel :  see  Cut- 
works  :  see  Leaf : 
see  Leaf  stitch 

Tulip 

Turn  around  or 
back,  to ;  reverse, 
to:  see  Doulle 

Tweezers 

Twist,   to ;  simple 

twist,  to 
Twisted  (adj.) 
Twister  (machine) 


FRENCH 

tracer,  calquer,  fai- 
re  une  impression 


tracer,  buriner,  cal- 
quer 

la  traceuse,  le  tra- 
ceur 


le  papier  de  cai- 
que, le  papier 
transparent,  1  a 
toile  a  calquer, 
le  papier  vegetal, 
le  papier  gelati- 
ne, la  toile  d'ar- 
chitecte 

transferer,  remon- 
ter 


le  camelote 

le  easier 
le  trefle 

le  triangle 
triangulaire 
la  garniture,  la  pas- 
sementerie 
triple 

le  trousseau 
le  paiement  en  na- 
ture 
l'equerre 


la  collerette,  le  tour 

de  gorge 
le    point  d'esprit 

dessus,  la  touffe, 

la    mouche,  la 

houppe 


la  tulipe 

tourner,  retourner 


les  pincettes 

tordre,  tortiller 

corde  -e,  tordu  -e 
le  croise-fila 


ITALIAN 

calcare,  punteggia- 
re  un  disegno, 
copiar  un  diseg- 
no passando  una 
punta  sui  tratti 

tracciare,  calcare, 
copiare 

il  tracciatore 

il  punteggiare  un 
disegno 

la  tela  d'architetto 


trasferire,  rimonta- 
re,  reprovvedere 


la  cattiva  mercan- 
zia,  l'opera  di  po- 
ca  entita 

10  scompartimento 

11  trifoglio 

il  triangolo 
triangolare 
il  guarnizione 

triplo,  triplice 
il  corredo 

il  pagare  in  natura 

la  squadra,  la  nor- 
ma 

il  collaretto,  la  gala 

la  macchia,  il  fiori- 
ni,  il  fiocco,  la 
nappa 


il  tulipano 
girare,  volgere 

il   pinzette,  le  mol- 

lette 
torcere 

attorto 


SPANISH 

trazar,  calzar,  ha- 
cer  una  impre- 
si6n 

delinear,  trazar, 

calcar 
el  trazador 

calcar,  copiar  en 
una  placa  trans- 
parente 

el  papel  de  calcar 


transferir,  remon- 
tar 


la  mala  mercancia 

el  cajoncito 
el  trebol 

el  triangulo 
triangular 
la  guarnicion 

triplice,  triplo 
el  equipo 

el  pago  en  la  mis- 
ma  forma 

el  cartabon,  la  es- 
cuadra 

el  escote 

el  copete 


el  tulipan 
girar,  volver 

las  tenacillas 
torcer 

retorcido,  torcido 
la  maquinilla  para 
retorcer  hilos 


GERMAN 

nachzeichnen,  kal- 
kiren,  durchpau- 
sen 


pausen 

die  Vorzeichnerin 

der  Umrisse 
die  Pause 

die  Pausleinwand, 
das  Pauspapier 


iibertragen 


der  Kamelott 

der  Fachkasten 
der  Klee 

der  Dreieck 
dreieckig 

der  Besatz,  die  Ver- 

zierung 
dreifach 
die  Aussteuer 
der  Lohnzahlung  in 

Waren 
das  Winkelmass, 

das  Winkeleisen, 

das  Winkelholz 
der  Bruststreifen, 

der  Halsstreifen 
die  Musche 


die  Tulpe 
umkehren 


das  Zangelchen 

drehen 

verschlungen 
? 


EXPLANATIONS  AND  NOMENCLATURE 


67 


ENGLISH  FRENCH 


Under,  beneath,  be- 
low 
Undo,  to 
Unemployment 


Unravel,    to :  see 

Ravel,  to 
Untie,  to 


Valance 


Valuable  (adj.)  : 
see  Expensive : 
see  Rare 

Variety,  sort,  kind 

Vegetable  (adj.) 
Veil,  fall 

Veil  (hanging) 
(for  the  Host) 

Veined  (adj.)  (rai- 
sed) 

Vertical  (adj.) 

Vestment 

Victorian  (adj.) 
Virgin 


Wadding :  see  Quilt- 
ing 

Waist 

Warm,  tepid  (adj.) 

see  Hot 
Warp,  chain 

Wash,  to 
Water 

Watering  place, 
spa,  summer  re- 
sort 

Waves,  undula- 
tions, overlap- 
ping loops,  rip- 
ples, folds 

Wax 

Wax-cloth :  see  Oil- 
cloth 

Weaver,  worker, 
runner 


Web 

Weight:  see  Clamp 


au-dessous,  sous 
defaire 

le  chOmage,  le  chau- 
mage 


denouer,  detacher, 
delier 


la  pente 


de  grande  valeur, 
precieux  -se 

l'espece,  la  variete 

vegetal  -e 

la  voile,  la  faille 
le  velum 

veine  -e 

vertical  -e 

le  vetement,  l'habil- 

lement 
victorien  -ne 
la  Vierge 


Touate 


la  blouse,  le  corsa- 
ge 
tiede 

la  chaine  (fils  ten- 

dus) 
laver 
l'eau 

la  ville  d'eau 


des  flots 


la  cire 


le  trameur,  le  con- 
ducteur,  la  pai- 
re  de  remplissa- 
ge 

le  tissu,  la  toile 

le  poids,  le  plomb, 
la  pelote  lourde 


ITALIAN 

sotto,  di  sotto,  in- 

feriormente 
disfare 

il  sciopero,  il  scio- 
pro,  il  tempo  che 
se  passa  senza  la- 
vorare 


sciogliete 

la  balza,  il  penda- 
glio,  il  drappelo- 
ne 

di  gran  valore,  pre- 
zioso 

la  specie,  la  varie- 
te 

vegetale 
il  velo 

il  velo,  la  bandinel- 

la 
venato 

verticale 

il  vestimento,  l'ab- 

bigliamento 
Vittoria 
la  Virgine 

 w  

l'ovatta,  la  bamba- 
gia,  Timbottitura 

la  blusa 

tiepido,  tepido 

l'ordito,  la  catena 

lavare 
l'acqua 

l'acque,  i  bagni 


l'anella 


la  cera 


il  tessitore 


il  tessuto,  la  tessi- 
tura 

il  peso,  el  piombo 


SPANISH 


debajo,  abajo 

deshacer,  desatar 
el  desocupado 


desligar,  desatar, 
soltar 


la  gotera 


precioso,  que  vale 
mucho 

la  variedad 

vegetal 

el  velo 
el  velo 

venoso,  veteado 

vertical 

la  vestimenta 

victoriano  -a 
la  Virgen 


el  entreforro 


la  blusa 

calido,  tibio 

la  urdimbre,  la  te- 
la, la  cadena 
lavar 
el  agua 
el  balneario 


la  onda,  la  ondula- 
ci6n 


la  cera 


el  tejedor,  el  traba- 
jador 


el  tegido,  la  tela 
el  peso 


GERMAN 


unter 

auflosen 
die  Feierzeit 


aufbinden 


der  Bettkranz 


wertvoll,  kostbar 


die    Gattung,  die 
Art 

pflanzenartig,  vege- 

tabilisch 
der  Schleier 
der  Vorhang 

geadert 

senkrecht,  vertikal 
das    Gewand,  das 

Kleid 
victorisch 
die  Jungfrau 


die  Wattierung,  die 
Baumwollwatte, 
die  Fullung 

die  Taille 

warm 

der  Weberzettel, 

die  Kette 
waschen 
das  Wasser 
das  Spaa 


die  Krausel 


der  Wachs 


das  Schusspaar, 
der  Weber 


das  Gewebe 
das  Gewicht 


68 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ENGLISH 

Wet  (adj.)  :  see 
Dampen,  to 

Wheel :  see  Out- 
line, to:  see 
Winding  ma- 
chine 

Whip,  to  :  see  Over- 
cast, to 

White  (adj.) 

Whole  stitch,  dou- 
ble pass,  whole 
throw,  gimp,  mat, 
math 

Width 

Wimple  (nun's), 
gorget :  see  Guim- 
pe 

Wind,  to;  hank,  to 


Winder,  reel 


Winding 

Winding  machine, 
bobbin  winder, 
lace  turn,  wheel 

Window  shade :  see 
Curtain 

Wood 

Woof,  weft  (shut- 
tle thread) 

Wool 

Work,  opus 
Work  bag- 
Work  basket 

Work  box 


Worker:  see  Wea- 
ver 

Workroom :  see 
Factory:  see 
Studio 

Worsted,  yarn 

Wrongside,  back 


Yak 
Yard 

Yarn-holder,  bangle, 
bracelet 

Yoke,  chemisette, 
dickey,  gorgias : 
see  Collar 


Zigzag :  see  Steps, 
in 


FRENCH 
mouille  -e 
la  roue 

1 


blanc,  blanche 

le  point  entier,  le 
point  matte,  le 
toile,  la  double 
passee 

la  largeur 

la  guimpe,  la  bar- 
bette 

pelotonner 


le  devidoir 


l'enroulage 
le  devidoir,  le  bo- 
binoir 

le  store 

le  bois 
la  trame 


la  laine 
l'ouvrage 
le  sac  a  ouvrage 
la  corbeille  a  ou- 
vrage 
la  boite  a  ouvrage 


l'atelier,  l'ouvroir 


le  fil  de  laine,  la 

laine  filee 
l'envers 


la  yack 

le  metre  (39  Eng- 
lish inches) 
le  bracelet 


l'empifccement 


le  zigzag 


ITALIAN 
bagnato,  umido 
la  ruota 


bianco 

il  punto  finito 


la  larghezza 

il  soggolo,  la  gor- 
giera,  la  benda 

aggomitolare 


l'arcolaio,  il  guindo- 
lo 


l'aggomitolare 

il  guindolo,  il  arco- 

laio,  il  avolajo  di 

fuselli 
la  persiane,  il  pa- 

rasole,  il  legno 
il  legno 
la  trama 


la  lana 
il  lavoro 
il  sacco 

la  paniera  de  lavo- 
ro 

l'astuccio  da  lavoro 


il  lavoratorio,  la 
bottega  da  la- 
voro, l'officina 

la  lana  filata 

il  rovescio 

l'iaco 
la  jarda 

il  s  m  a  n  i  g  1  i  o,  il 
braccialetto,  il 
anello  da  poise 

Fempiecement,  il 
devanti  d  '  u  n  e 
blusa 

il  zigzag 


SPANISH 
mojado,  htimedo 

la    ruedecilla,  la 
rueda 


bianco 

el  punto  completo 


la  largueza,  la  lar- 

gura 
la  toca,  el  grinon 


devanar,  reducirlo 
a  ovillo 

el  aspa 


el  ovillar 

la  enrrolladora  pa- 
ra palillos 

el  transparente 

la  madera 
la  trama 


la  lana 

la  obra,  el  trabajo 
el  saco  de  labor 
la  cesta,  la  canasta 

el  costurero,  la  caja 
de  labor 


el  taller 


el  hilo  de  lana 
el  reves 


el  yak 
la  yarda 

el  brazelete  para 
hilo  de  lana 

el  peto  de  blusa,  el 
frente  de  blusa 


el  ziszas,  el  zigzag 


GERMAN 

nass 
das  Rad 


weiss 

der  Ganzschlag,  der 
Doppelschlag,  (2 
Halbschlage) 

die  Weite 

der  Brustschleier, 

der  Wimple,  das 

Brusttuch 
knauelenbilden, 

wickeln,  aufwic- 

keln 

die  Garnwinde,  die 
Garnhaspel,  der 
Haspel,  die 
Zwirnwinde 

das  Wickeln 

die  Wickelmaschine 


der  Fensterschirm 
das  Holz 

das  Gewebe,  der 
Einschlag,  der 
Eintrag  der  Warf 

die  Wolle 

die  Arbeit 

der  Arbeitsbeutel 

der  Arbeitskorb 

die  Arbeitsschach- 
tel,  das  Zwirn- 
kastchen 


die  Werkstatt 


das  wollene  Garn 
die  Ruckseite 


?  Yack 

die  englische  Elle 

die  Spange,  der 
Garn  Haspel 

das  Achselsttick 


der  Zickzack 


Chapter  IV 

RULES  FOR  MAKING 

"The  whole  value  of  lace  as  a  possession  depends  on  the  fact  of  its  having 
a  beauty  which  has  been  the  reward  of  industry  and  attention.  That  the  thing 
is  itself  a  price — a  thing  everybody  cannot  have.  That  it  proves,  by  the  loolc  of 
it,  the  ability  of  the  maker;  that  it  proves,  by  the  rarity  of  it,  the  dignity  of 
its  wearer.  ...  7/  they  all  chose  to  have  lace,  too,  if  it  ceases  to  be  a  price,  it 
becomes,  does  it  not,  only  a  cobweb?  The  real  good  of  a  piece  of  lace,  then  you 
will  find,  is  that  it  should  show,  first,  that  the  designer  of  it  hath  a  pretty  fancy; 
next,  that  the  maker  of  it  had  fine  fingers;  lastly,  that  the  wearer  of  it  has 
worthiness  or  dignity  enough  to  obtain  what  is  difficult  to  obtain,  and  common 
sense  enough  not  to  wear  it  on  all  occasions." — Ruskin. 


LINEN  OR  CLOTH  STITCH  JOINING  BANDS. 

The  rule  for  making  linen  stitch  or  cloth  stitch  is : — cross,  twist,  cross. 
The  quarter  inch  bands  in  this  sampler  are  made  of  six  hanging  pairs  and  a 
weaver.  i 
The  half -inch  bands  are  made  of  twelve  pendant  pairs  and  a  weaver. 
The  one  inch  bands  are  made  of  twenty-four  pairs  and  a  weaver. 


69 


70 
□= 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  A,  COL.  1, 

Net  Stitch,  Lattice  Ground,  Demi-Point,  Toile  Ouverte,  Point  Reseau. 


For  this  first  sample  twenty-four  pendant  bobbins  and  a  weaving  pair  are 
needed.  It  is  made  entirely  of  simple  half-stitch,  for  which  the  rule  is  twist, 
cross.  This  operation  is  repeated  from  left  to  right  across  the  top  row,  then 
from  right  to  left  across  the  one  below,  and  so  on  until  one  reaches  the  bottom. 
By  making  the  same  stitch  a  second  time  at  each  edge ;  that  is,  by  repeating  it 
after  placing  the  edge  pin,  before  starting  the  next  row  below,  the  edge  can  be 
made  firmer. 


□- 


RULES  FOB  MAKING 


71 

=□ 


LINE  A,  COL.  2, 

Virgin  Ground,  Pin  Check,  Pink  Check,  Ornamental  Ground,  Binche,  Cinq 

Trous,  Point  Carre. 


This  is  the  Variation  of  Virgin  Ground,  generally  known  as  Cinq  Trous, 
belonging  originally  to  Binche  Lace.  Each  motif  or  block  requires  four  pairs, 
two  of  which  enter  at  the  upper  left-hand  corner,  two  at  the  upper  right.  To 
make  the  upper  left-hand  ornament,  twist  and  cross.  The  upper  right-hand 
ornament  is  made  in  the  same  way.  Two  center  pairs,  one  coming  from  the 
left  and  one  from  the  right,  are  twisted  and  crossed.    A  pin  is  placed  at  the 


72 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  A,  COL.  2— -Continued, 

Virgin  Ground,  Pin  Check,  Pink  Check,  Ornamental  Ground,  Binche,  Cinq 

Trous,  Point  Carre. 

center  top  and  is  closed  by  twisting  and  crossing.  This  is  repeated  at  the  center 
left,  center  right  and  center  bottom.  The  ornaments  at  the  lower  left  and  lower 
right  are  now  made  as  they  were  above  by  twisting  and  crossing  without  pins. 
At  the  edge  of  the  lace,  the  ornament  is  made  before  tying  the  threads  or 
entering  a  cloth-stitch  band,  and  is  again  made  after  coming  out  from  the  cloth- 
stitch  band.  If  the  above  instructions  are  followed,  every  pair  will  have  been 
twisted  once  before  it  intersects  another  pair. 

The  essential  difference  between  Cinq  Trous  and  Virgin  Ground  is  that 
the  ornaments  of  the  former  are  more  open,  making  the  corner  holes  more 
prominent,  as  they  are  only  twisted  and  crossed,  while  the  Virgin  Point  orna- 
ments are  twisted,  crossed,  then  again  twisted  and  crossed. 

Another  method  of  making  Cinq  Trous  is  that  of  following  a  zigzag  line 
running  downwards  from  right  to  left,  the  points  of  which  occur  at  the  middle 
top  and  center  base  of  each  little  solid  block  of  Cinq  Trous  filling,  the  maker 
using  only  two  instead  of  four  pins;  that  is,  omitting  the  two  side  ones.  At 
the  beginning  of  each  zigzag,  after  having  twisted  the  threads  and  made  the 
cloth-stitch,  one  places  a  pin  without  closing  it.  To  descend  one  step  of  the 
zigzag  stairway,  one  makes  a  half -stitch  with  the  two  left-hand  pairs,  a  similar 
half -stitch  with  the  two  right-hand  pairs,  next  twisting  the  threads  and  making 
a  linen-stitch  with  the  two  pairs  now  lying  nearest  the  center.  At  this  point  one 
places  the  next  or  second  pin  without  closing  it.  To  remount  a  step,  one  puts 
aside  the  two  pairs  at  the  right  of  the  pin,  taking  up  two  new  pairs  at  the  left, 
and  with  these  two  new  ones  and  the  two  directly  left  of  the  pin,  one  repeats 
what  one  did  in  descending  the  stair.  One  leaves  two  pairs  aside  only  at  the 
foot  of  a  step.  At  the  base  of  the  whole  stairway,  after  having  finished  the 
stitch  and  having  placed  a  pin,  one  again  makes  a  complete  stitch  without 
removing  the  pin  or  using  another,  to  finish  off;  exactly  as  though  one  were 
about  to  redescend ;  and  it  is  well  to  see  that  the  big  bars  or  bands  of  solid  and 
open  Cinq  Trous  are  parallel  in  both  directions. 


RULES  FOB  MAKING 


73 

=□ 


LINE  A,  COL.  3, 
Malines,  Mechlin,  Ijsgrond,  Fond  de  Glace,  Eisgrond. 


It  requires  eight  pairs  to  make  a  Malines  mesh,  two  pairs  on  each  vertical 
side  of  the  mesh  braided  three  times.  The  two  innermost  pairs,  one  from  each 
braid,  are  now  twisted  twice  each  and  coming  together,  form  a  new  braid  for 
a  lower  or  succeeding  mesh.  The  meshes  thus  formed  are  six-sided,  having  two 
braided  sides  and  four  twisted  ones. 


n  □ 


74  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  A,  COL.  4, 
Trude  "A"  Ground  (original)  (American.) 


Each  mesh  requires  seven  pairs.  One  should  always  cloth-stitch  with  the 
two  pairs  that  descend,  no  matter  from  which  direction  they  come,  before  passing 
or  laying  them — without  cloth-stitching — between  the  two  threads  of  the  pair 
that  traverses  the  lace  horizontally.  A  pin  should  be  placed  between  the  two 
descending  threads  under  the  horizontal  pair  to  sustain  the  joint  and  avoid 
confusion.  Every  pair  should  be  twisted  once  between  stitches,  except  in  the 
center  of  the  large  open  star,  where  each  bar  or  ray  of  the  star  should  be 
twisted  twice. 


:□ 


RULES  FOB  MAKING 


75 

=□ 


LINE  A,  COL.  5, 

Star  Mesh,  Double  Ground,  Point  de  Paris,  Point  de  Six,  Eternelle,  Point 
Double,  Trenne,  Chantilly,  Fond  Chant,  Engelsche  Grond, 
Dentelle  de  Grammont. 


r/-;.i...;.- .7^ 


This  pretty  and  durable  stitch  is  made  in  the  same  way  as  that  described 
under  Line  C,  Column  5,  except  that  each  pair  is  twisted  once  before  every 
encounter,  and  a  pin  is  placed  beneath  each  cross  to  support  it.  The  actual 
stitch  is  a  linen-stitch. 


76 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  A,  COL.  6, 
Point  du  Mariage  fait  a  la  Torchon  au  Demi-Point. 


Each  motif  in  this  case  requires  two  parallel,  vertical  pairs  and  two  inter- 
secting, diagonal  pairs.  The  point  of  their  intersection  comes  between  the  two 
parallel,  vertical  lines.  Each  time  that  the  worker,  coming  from  the  upper  left- 
hand,  traverses  another  pair,  whether  a  vertical  or  another  diagonal,  it  and  its 
mate  are  twisted  and  crossed  once.  A  pin  is  placed  and  they  are  twisted  and 
crossed  to  close  it.  The  weaver  coming  from  the  upper  right-hand,  and  the 
two  parallel  pairs,  do  likewise  wherever  they  encounter  other  pairs.  The  pins 
should  not  be  removed  until  the  work  is  finished,  as  the  threads  pull  easily. 

This  mesh  is  quickly  made ;  but  does  not  wash  well.   See  Line  A,  Column  5. 


a 


RULES  FOR  MAKING 


77 


LINE  A,  COL.  7, 

Square-meshed  Valenciennes  of  Honfleur  (braided  1  or  times). 


Each  mesh  requires  four  threads  to  a  side.  These  threads  are  braided 
once  between  joints.  The  two  pairs  which,  after  the  tressing,  are  at  the  inside 
next  each  other,  now  cloth-stitch  and  the  joint  is  supported  by  a  pin.  The 
right-hand  one  of  the  pairs  is  twisted  once  after  the  joint,  but  the  pair  going 
towards  the  left  remains  untwisted  before  entering  the  new  plait.  The  two 
outside,  hanging  pairs  of  the  braid  are,  however,  twisted  once  before  they  enter 
into  the  new  braid  below,  which  is  the  beginning  of  a  new  mesh.  Thus  only  the 
interior  pairs  linen-stitch,  and  the  two  outside  pairs,  which  are  twisted  once, 
hang  idly  while  the  cloth-stitch  is  made.  This  joint  is  spoken  of  by  some  writers 
as  being  braided  once,  and  by  others  as  being  braided  one  and  a  half  times ;  the 
discrepancy  of  description  being  caused  by  an  extra  cross  in  the  braiding,  for 


n  □ 


78 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


■D 


LINE  A,  COL.  7— Continued, 

Square-meshed  Valenciennes  of  Honfleur  (braided  1  or  times). 

immediately  after  and  immediately  before  each,  joint,  there  must,  in  square 
Valenciennes,  be  a  cross.  If  one  braids  by  crossing,  twisting:  then  the  cross 
must  be  added  at  the  end.  If  one  plaits  by  twisting,  crossing:  then  a  cross 
must  be  made  at  the  beginning,  after  the  joint  is  finished.  It  is  less  confusing 
to  work  across  the  lace  in  a  horizontal  line.  One  can  make  the  right-hand  braid 
which  is  about  to  enter  into  the  joint,  placing  the  right-hand  pair  astride  a  pin 
to  keep  the  plait  from  coming  undone:  then  making  the  left-hand  tress,  and 
with  these  bobbins  in  the  hand,  finish  the  joint.  This  method  can  be  reversed 
when  one  is  working  in  the  opposite  direction.  Then  holding  the  two  center  pairs 
firmly  in  hand,  one  can  detach  the  right-hand  pair,  pull  all  into  shape  and 
place  a  pin. 

This  Valenciennes  is  strong,  clumsy  and  very  slow  to  make. 


RULES  FOR  MAKING 


79 

=□ 


LINE  A,  COL.  8, 
Devonshire  Pin  Filling. 


This  is  an  easy,  pretty  jour.  The  cutworks  are  placed  alternately  below 
each  other.  At  the  bottom  of  a  cutwork  a  pin  is  placed,  when  the  pairs  are 
twisted  three  times,  cloth-stitched  through  each  other,  and  again  twisted  three 
times  going  in  opposite  directions,  but  horizontally,  towards  the  tops  of  other 
points  d 'esprit  or  leadworks.  At  the  top  of  a  new  cutwork,  the  pairs  entering  it 
cloth-stitch.  Here  a  pin  is  placed  and  the  pairs,  after  being  twisted  three  times, 
are  ready  to  form  the  new  leadwork,  which  must  be  made  long  enough  to  reach 
the  pin  hole  below. 


80 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


■-D 


LINE  A,  COL.  9, 
Devonshire  Four  Pearl  Filling. 


This  filling  is  worked  diagonally  in  sets  of  four  pearl  pins  joined  by  four 
braided  bars.  Each  bar  requires  two  pairs,  and  should  be  made  long  enough 
to  reach  from  the  bottom  of  one  set  of  picots  to  the  top  of  the  next  set.  At  the  top 
of  one  of  these  motifs,  one  takes  the  inside  couple  on  the  left,  twists  it  three 
times;  puts  up  a  pin  in  the  top  hole;  passes  one  of  the  weaver  threads  around 
the  pin  from  the  right  to  the  left;  and  its  mate  from  the  left  to  the  right;  then 
twists  the  pair  once  and  closes  the  pin  by  making  a  linen-stitch  with  the  outside 
couple.  The  two  central  pairs,  one  from  the  upper  left  and  one  from  the  upper 
right,  now  cloth-stitch  and  twist  once.    The  two  right-hand  pairs  linen-stitch 


RULES  FOB  MAKING 


81 

-□ 


LINE  A,  COL.  9— Continued, 

Devonshire  Four  Pearl  Filling. 

and  another  picot  is  made  at  the  right-hand  pin  hole  in  the  same  way  as  at  the 
top,  and  the  pin  is  closed  by  cloth-stitching  the  picot  pair  with  its  mate  and 
twisting  them  once.  The  left-hand  pearl  pin  is  made  in  the  same  way.  Then 
the  two  center,  bottom  pairs,  each  one  already  twisted  once,  linen-stitch.  Next 
the  two  right-hand  pairs  cloth-stitch  and  the  inner  pair  of  these  two  makes  the 
fourth  picot.  These  two  pairs  continue  downwards  toward  the  right,  braiding 
until  they  meet  the  next  motif.  The  two  left-hand  pairs  are  also  plaited  until 
they  meet  another  set  of  pearl  pins  at  the  lower  left. 


After  finishing  the  oblong  cutwork,  each  pair  is  twisted  three  times  and 
each  cutwork  is  supported  by  a  pin  placed  in  the  two  upper  of  the  four  holes. 
This  division  leaves  a  pair  of  bobbins  outside  of  each  pin  with  two  couples 
together  in  the  center.  These  two  upper,  inside  pairs  linen-stitch  through  each 
other,  and  a  pin  is  placed  between  them  to  support  the  joint,  when  they  are 
twisted  three  times.  They  then  continue  downwards  in  their  respective  direc- 
tions; one  to  the  right  and  one  to  the  left;  and  here  each  one  linen-stitches 
through  the  pair  it  meets  coming  from  the  cutwork  above,  when  each  pair  is 
again  twisted  three  times.  The  two  pairs  now  at  the  center,  cloth-stitch  through 
each  other  and  are  twisted  three  times.  Here  the  two  lower  side  pins  are  placed. 

One  is  now  ready  to  make  the  long,  rectangular  point  d 'esprit,  diagonal 
bands  between  the  attractive,  middle  five  hole,  diamond  openings.  These  cut- 
works  are  made  in  the  usual  way :  but  are  about  twice  as  long  as  the  standard 
square  point  d 'esprit. 


□= 


=□ 


RULES  FOE  MAKING 


83 

=□ 


LINE  A,  COL.  11, 
Trude  "D"  Ground  (original)  (American). 


Two  pairs  to  a  joint  are  required  for  this  pattern,  which  is  made  on  the 
diagonal,  with  two  pins  placed  right  below  each  other  forming  a  double  joint. 
The  two  threads  coming  from  the  upper  left-hand  are  twisted  twice  and  those 
Coming  from  the  upper  right-hand  are  twisted  twice.  The  two  center  bobbins  are 
erossed  and  a  pin  placed  below.  The  pairs  are  again  twisted  and  crossed,  and 
another  pin  placed,  which  is  closed  by  twisting  and  crossing. 


84  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

□   = 


LINE  A,  COL.  12, 
Trude  "G"  Ground  (original)  (American). 


Three  pairs  or  bars  enter  at  each  upper  side  of  the  diagonally  tipped  squares. 
Each  of  these  six  bars  is  twisted  three  times  between  squares.  Every  other 
square  is  made  of  cloth-stitch,  and  every  other  one  is  grilled  instead  of  being 
solid,  each  pair  twisted  once  between  the  linen-stitches.  The  squares  are  thus 
alternated.  A  pin  is  placed  below  each  one  to  sustain  it :  but  no  others  are  used. 


□: 


RULES  FOB  MAKING 


&5 


LINE  A,  COL.  13, 
Trude  "I"  Ground  (original)  (American). 


Twenty-one  pairs  were  used  in  making  this  sample,  the  horizontal  pair 
going  from  left  to  right,  then  back,  and  so  on,  as  a  weaver.  Each  line  on  the 
pricking  represents  two  threads  twisted.  The  long  diagonal,  vertical  and  hori- 
zontal pairs  are  twisted  four  times;  the  short  vertical  and  horizontal  pairs  are 
twisted  once.  The  vertical  and  horizontal  threads  weave  through  each  other 
with  a  linen  stitch  each  time  they  intersect. 

The  diagonals  in  the  small  squares  are  not  twisted,  as  the  former  twisting 
holds  over.  The  diagonal  threads  entering  the  small  squares  at  their  right- 
hand  upper  corners  are  placed  under  the  vertical  and  horizontal  pairs  without 
a  stitch.  The  diagonal  threads  entering  the  small  squares  at  their  left-hand 
upper  corners  are  placed  over  the  vertical  and  horizontal  pairs  without  a  stitch. 


□  : 


86 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  A,  COL.  13— Continued, 

Trude  "I"  Ground  (original)  (American). 

At  the  bottoms  of  these  tiny  squares,  the  diagonal  threads  that  enter  at  the 
left,  leave  at  the  right  by  passing  under  the  other  threads.  The  diagonals  that 
come  from  the  right  go  out  over  the  vertical  and  horizontal  ones  without  a 
stitch,  so  as  to  prevent  their  slipping  either  up  or  down  or  from  left  to  right. 
At  the  centers  of  both  the  large  and  small  squares,  the  two  diagonal  pairs 
intersect  and  weave  through  each  other  with  a  linen  stitch.  These  intersections 
should  be  supported  with  a  pin. 


RULES  FOB  MAKING 


87 


□  □ 

LINE  A,  COL.  14, 
Trentino 


It  requires  two  pairs  to  make  each  wheel  or  roue,  and  eight  pairs  more  to 
fill  each  spider.  Linen-stitch  and  half -stitch  spiders  should  be  alternated.  The 
wheel  pairs  are  twisted  twice  between  the  pairs  they  cross,  and  each  pair  just 
inside  of  the  wheel,  or  just  outside  of  the  body  of  the  spider,  is  twisted  twice. 
Two  spider  legs  enter  at  the  extreme  top,  two  at  each  upper  side,  and  two  at 
one  side.  Two  legs  leave  horizontally  at  the  opposite  side  from  which  the  two 
pairs  enter,  two  leave  at  each  lower  side,  and  two  at  the  bottom.  In  the  linen- 
stitch  spider  filling,  the  two  top  spider  legs  enter  and  leave  in  the  opposite 
direction  from  the  two  pairs  entering  at  the  side,  so  that  four  pairs  weave 
towards  the  right  through  the  four  pairs  that  weave  towards  the  left,  making 
an  even  square.   In  the  half-stitch  spider  body,  the  upper  pair  entering  at  the 


88  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

□    □ 


LINE  A,  COL.  14— Continued, 
Trentino. 

upper  side  is  used  as  a  weaver,  and  crosses  to  the  center  of  the  opposite  side, 
taking  in  the  two  legs  entering  there.  It  then  returns  to  the  center  of  the  first 
side,  taking  in  the  remaining  upper  side  pair ;  then  it  weaves  to  the  lower  part 
of  the  opposite  side.  This  makes  three  cross  threads.  One  must  be  sure  that 
it  is  really  the  two  wheel  or  encircling  pairs  that  meet  at  the  bottom.  One 
braid  stitch  is  made  at  the  bottom  after  the  wheel  is  finished,  between  the  left 
wheel  pair  and  the  spider  leg  pair  to  the  left  of  it,  and  between  the  right-hand 
wheel  pair  and  the  leg  to  the  right  of  that.  One  is  then  ready  to  start  the 
spider  right  below.  The  entrance  and  exit  of  the  horizontal  side  legs  make  it 
necessary  to  make  one  row  of  spiders  from  the  left  to  the  right  and  the  row 
below  from  the  right  to  the  left.  A  short,  horizontal  braid  is  made  between 
spiders;  also  a  diagonal  braid  connections  of  lower  legs  from  one  spider  cross- 
ing over  downwards  through  a  reverse  braid  to  become  the  upper  legs  of  the 
spider  one  row  diagonally  below. 


□  : 


:□ 


RULES  FOB  MAKING  89 

  =□ 


LINE  A,  COL.  15, 
Triangular,  Fan-Shaped  Points  d'Esprits  or  Cut  Works. 


It  requires  four  threads  to  make  one  fan,  and  the  fans  are  woven  exactly 
as  outworks  or  leaves  are,  but  started  wide  at  the  top  and  gradually  tapered  to 
a  point  at  the  bottom.  At  the  foot  of  one  fan  and  the  top  of  another,  one  should 
make  sure  that  the  two  entering  threads  at  the  right  and  at  the  left  are  twisted 
round  each  other,  so  that  two  independent  threads  will  not  be  seen  bridging 
between  triangles.  The  top  of  the  new  fan  should  be  supported  by  two  pins 
spread  as  far  apart  as  the  triangle  is  to  be  made  wide.  Another  pin  should  be 
placed  under  the  finished  apex  at  the  bottom  of  the  triangle. 


90 


u 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  A,  COL.  16, 
Abruzzian  Mezza  Cambruccia. 


It  requires  four  threads  to  make  each  one  of  these  spiders.  Two  pairs 
twisted  once  enter  at  the  left-hand  top  of  the  spider  and  two  pairs  twisted  once 
enter  at  the  right-hand  top  of  the  spider.  This  spider  is  made  as  the  ordinary 
spider  is :  but  the  centers  should  he  arched  by  pulling  the  outside  threads  tighter 
than  the  inside  ones,  and  holding  the  inside  ones  up  in  the  air  while  working 
around  the  pin.  This  arched  shape  can  be  better  preserved  by  placing  a  support 
pin  just  at  the  base  of  the  spider.  The  two  pairs  that  leave  the  spider  going 
towards  the  left  are  twisted  once  and  enter  the  spider  next  below  towards  the 
left.  The  two  threads  leaving  at  the  right  are  twisted  once  and  enter  the  spider 
just  below  on  that  side. 


RULES  FOB  MAKING 


□- 


91 


LINE  A,  COL.  17, 
Trude  "N"  Ground  (original)  (American) 


Each  tiny  triangle  requires  four  threads.  In  making  these,  one  completes 
a  whole  line  from  left  to  right,  then  the  succeeding  line  from  left  to  right,  as 
this  secures  the  two  suspension  or  scaffold  threads  of  the  triangle  before  pulling 
and  again  using  the  weaver.  At  the  top  of  each  triangle,  whether  at  its  broad 
or  its  pointed  end,  one  should  give  two  twists  to  the  two  framework  threads 
that  are  about  to  enter  into  the  outwork  to  prevent  their  stringing  out  and  later 
appearings  as  loops.  The  worker  and  its  mate  should  be  twisted  once  or  twice 
as  is  convenient  before  beginning  a  new  point  d 'esprit.  At  the  small  end  of 
the  cutwork,  between  an  upper  and  a  lower  triangular  spot,  the  twice-twisted, 
horizontal  band  pair,  cloth-stitches  through  the  cutwork  pairs,  each  of  these 
latter  pairs  being  considered  as  one  thread  so  as  not  to  spread  the  point  of  the 


92 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  A,  COL.  17— Continued, 

Trade  "N"  Ground  (original)  (American). 

triangle.  This  passage  should  be  supported  by  a  pin.  When  the  outwork  below 
is  begun,  the  pin  should  be  removed  as  soon  as  possible,  otherwise  the  weaver 
will  leave  a  loop  around  it.  When  starting  the  broad  end  of  a  triangle,  one 
should  place  pins  at  the  top  of  it  to  hold  apart  the  threads.  When  finishing  at 
the  broad  end,  pins  should  be  placed  inside  the  two  pairs  to  hold  them  apart 
and  support  the  work.  These  pins  have  to  be  replaced  when  the  line  below  is 
worked,  but  after  all  they  are  only  supports  and  helpers.  No  knotting  of  the 
cutwork  is  necessary,  as  the  next  triangle  follows  so  closely  that  it  holds  the 
joint  in  place.  At  the  open  centers  of  the  stars  between  the  cutworks,  where 
the  three  twice-twisted  pairs  meet,  the  weaver  or  worker  cloth-stitches  through 
one  to  hold  in  its  twists,  and  is  then  just  laid  between  the  other  two  threads 
coming  from  the  opposite  direction,  each  of  these  threads  just  passing  around 
it,  clasping  it,  but  not  working  through  it,  to  avoid  making  a  bulky  joint. 


* 


RULES  FOR  MAKING 


93 

=□ 


LINE  A,  COL.  18, 
Fond  de  Neige,  Punto  di  Neve. 


This  pleasing  little  ground  requires  only  four  pairs  to  each  mesh,  two 
coming  from  the  upper  left,  and  two  from  the  upper  right-hand.  Each  pair  is 
twisted  twice.  They  are  then  ready  to  cloth-stitch  through  each  other  to  form 
the  little  solid  squares,  whrch,  when  finished,  can  be  supported  at  the  base  by 
pins.  For  example,  using  the  inner,  upper  left-hand  pair  as  a  weaver,  one 
should  linen-stitch  through  the  two  pairs  coming  from  the  upper  right.  One 
should  then  do  likewise  with  the  remaining  upper  left-hand  pair,  which  finishes 
the  dot. 

See  Line  B,  Column  18. 


94 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


■■a 


LINE  B,  COL.  1, 
Tulle  Du  Puy. 


This  net  is  made  by  twisting  once,  then  crossing,  twisting  and.  crossing, 
placing  a  pin  and  closing  it  by  crossing,  twisting  and  crossing.  This  mesh  is 
made  on  the  diagonal;  is  very  simple,  and  as  the  strands  are  interlocked,  it  is 
much  firmer  and  less  apt  to  shift  than  Torchon  Ground,  for  which  it  can  gen^ 
erally  be  substituted. 


\ 

RULES  FOB  MAKING  95 
□  □ 


LINE  B,  COL.  2, 
Virgin  Ground,  Ornamental  Ground,  Fond  de  la  Vierge,  Point  Carre. 


This  is  the  plain,  ordinarily  used  Virgin  Ground.  Four  pairs  and  four 
pins  are  required  for  the  making  of  each  square ;  two  pairs  enter  at  the  upper 
left  to  form  the  upper  left-hand  ornament,  which  is  made  by  twisting  once  and 
crossing,  and  twisting  once  and  crossing  without  pinning.  The  same  is  done  at 
the  upper  right-hand  corner.  The  two  center  pairs,  one  from  the  right  and  one 
from  the  left,  now  twist  and  cross :  a  pin  is  placed  at  the  center  top,  and  is  closed 
by  twisting  once  and  crossing.  This  stitch  is  repeated  at  the  center  left,  the 
center  right  and  the  bottom;  then  the  two  lower  ornaments  are  made,  just  as 
the  two  top  ones  were,  without  pinning.  These  lower  ornaments  serve  as  the 
upper  ones  for  succeeding  squares  below. 


□  : 


£3 


96 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


-n 


LINE  B,  COL.  3, 
Brussels,  Droschel,  Vrai  Reseau  (fait  sans  epingles),  Drochel. 


See  Line  C,  Column  3. 

Brussels  hexagonal  ground  requires  four  pairs  to  each  stitch,  the  two 
vertical  sides  of  the  stitch  being  braided  four  times.  The  braided  pair  of  each 
plait,  now  towards  the  center,  is  twisted  twice ;  and  the  two  pairs  being  brought 
together,  form  a  new  vertical  plait.  Thus  each  mesh  is  six-sided,  having  two 
braided  and  four  twisted  sides. 

This  ground,  having  one  braid  more  than  Mechlin,  is  slightly  more  open. 


RULES  FOR  MAKING 


LINE  B,  COL.  4, 
Trude  "B"  Ground  (original)  (American). 


This  ground  requires  five  pairs  to  each  mesh.  The  pendent  pair  is  twisted 
once  between  stitches.  At  the  star-center  where  the  three  pairs  traverse  each 
other,  none  of  them  are  twisted,  but  the  two  diagonal  pairs  should  linen-stitch 
and  be  placed  or  laid  between  the  two  threads  of  the  horizontal  pair.  Here 
one  should  place  a  pin  between  the  diagonal  pairs,  under  the  horizontal  one,  to 
support  the  joint  and  serve  as  a  guide.  The  horizontal  pair  should  be  twisted 
twice  in  the  long  space  that  occurs  above  and  below  the  star-centers,  between 
vertical  pairs. 


98 


A  LACE  GUlbE  FOR  MAKERS  AND  COLLECTORS 


LINE  B,  COL.  5, 
Lattice  Ground,  Gekreuzter  Gittergrund  (3  twists)-. 


» 


to 

K  X 
txf  M 


MX 
X  X 


V 
V 

x  x 

xV 
Vx 

X  X 

v  x  x 
xv  x 


Four  pairs  are  required  in  making  this  stitch,  two  that  fall  vertically  and 
two  which  run  diagonally.  The  joints  formed  by  the  weaving  of  the  oblique 
pairs  through  each  other  should  be  supported  by  pins.  The  vertical  pairs  are 
twisted  three  times  between  intersections;  the  diagonal  pairs  once.  All  joints 
are  formed  by  cloth-stitching. 


RULES  FOB  MAKING 


99 


LINE  B,  COL.  6, 
Twice-twisted  Virgin  Point — mit  zweimal  gedrehtem  Schlusschlag. 


IS 

ftftft 


Two  pairs  enter  each  motive  or  block  at  the  upper  left-hand  and  two  at 
the  upper  right-hand.  Each  square  requires  eight  pins.  The  four  ornament, 
or  corner  pins,  are  placed  thus;  ;  then  the  central  stitches  inside  of 


the  ornaments  are  held  in  place  by  pins  placed  thus  • 

The  two  pairs  entering  at  the  upper  left-hand  are  twisted  twice  and  crossed. 
Here  a  pin  is  placed  and  closed  by  twisting  twice  and  crossing.  This  is  the 
upper  left-hand  ornament.  The  same  process  is  repeated  for  the  upper  right- 
hand  ornament.  Now  the  two  center  pairs,  one  from  the  left  and  one  from  the 
right,  are  twisted  twice  and  crossed.  A  pin  is  placed  at  the  center  top  and 
closed  by  twisting  twice  and  crossing.  This  stitch  is  repeated  at  the  center  left; 
that  is,  twisting  twice,  crossing,  placing  a  pin  and  closing  it  by  twisting  twice  and 
crossing.  The  same  is  done  at  the  center  right  and  again  at  the  center  bottom 
with  the  two  middle  pairs.  One  is  now  ready  to  make  the  lower,  left-  and  right- 
hand  ornaments.  These  done,  one  has  only  to  twist  the  pairs  twice  in  order  to 
make  the  centers  of  the  squares  below;  for  the  lower  ornaments  of  one  square 
serve  as  upper  ornaments  to  succeeding  squares. 


100 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


□ 


LINE  B,  COL.  7, 

Square-meshed  Valenciennes  of  Ghent  or  Gand  and  Menin  (braided  2  or  l1/^ 

times). 


See  Line  A,  Column  7.  This  Valenciennes  is  made  in  the  same  way,  except 
that  the  sides  of  the  meshes  are  braided  two  or  two  and  a  half  times,  the  joints 
being  made  in  the  same  way  as  those  of  Honneur. 


RULES  FOR  MAKING 


OF 


101 

~3 


LINE  B,  COL.  8, 
Devonshire  Cushion. 


Four  pairs  are  required  for  each  motif:  two  pairs  at  the  upper  left  and 
two  pairs  at  the  upper  right  cloth-stitch,  are  twisted  three  times,  pinned  and 
closed  with  a  linen-stitch.  When  all  four  couples  have  been  worked  up  to  this 
point,  the  two  outside  ones  are  twisted  three  times  and  hang  idly  while  the 
leadwork  is  being  made,  waiting  to  join  in  again  below  it.  The  two  inside  pairs 
are  each  twisted  once  and  proceed  to  make  the  cutwork.  After  it  is  finished, 
they  are  again  each  twisted  once  and  cloth-stitched  through  the  two  outside 
couples  which  have  been  awaiting  them.  A  pin  is  placed  below  each  of  these 
joints  and  the  pairs  are  twisted  three  times  and  closed,  ready  to  continue. 


□= 


-O 


Each  bar  requires  two  pairs,  but  at  the  joint  four  pairs  are  worked  together. 
Here  the  threads  are  used  double,  two  bobbins  being  passed  over  two  others,  so 
that  the  stitch  made  is  identical  to  that  made  by  only  half  the  number.  At  this 
intersection  the  pairs  should  be  crossed  and  twisted  and  again  crossed  and 
twisted.  Now  the  couples  divide,  two  working  to  the  right  and  two  to  the  left. 
Each  one  is  now  twisted  and  crossed  three  successive  times.  The  pairs  nearest 
the  pin  holes  are  twisted  three  times.  One  thread  is  put  around  the  pin  from 
right  to  left  and  its  mate  from  left  to  right,  when  the  pair  is  twisted  once  and 
re-enters  the  braid.  The  braid  is  made  by  twisting  and  crossing  three  successive 
times.  Then  a  second  pearl  pin  is  put  up;  and  the  braid  again  twisted  and 
crossed  three  times. 


-Q 


D 


RULES  FOR  MAKING 


103 

— □ 


LINE  B,  COL.  10, 

? 


There  are  two  pairs  in  these  vertical  bands,  besides  the  weaver.  The  latter 
is  twisted  three  times  around  each  winkie  pin.  Each  pair  that  enters  into  the 
cutwork  (the  weavers  from  the  two  sides)  is  twisted  once  before  entering  the 
points  d 'esprit.  But  the  cutwork  weaver  should  be  twisted  twice  after  the  lead- 
work  is  finished  before  cloth-stitching  through  the  band  to  the  other  side.  This 
filling  is  worked  from  the  left  to  the  right,  as  the  left-hand  cutwork  must  be 
finished  before  the  one  slightly  below  it  to  the  right  can  be  begun. 


104  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□ 


LINE  B,  COL.  11, 
Trude  "E"  Ground  (original)  (American). 


Two  pairs  to  a  joint  are  required  for  this  pattern,  which  is  made  on  the 
diagonal,  with  two  pins  placed  right  below  each  other  forming  a  double  joint. 
The  two  threads  coming  from  the  upper  left-hand  are  twisted  twice  and  those 
coming  from  the  upper  right-hand  are  twisted  twice.  The  two  center  bobbins  are 
crossed  and  a  pin  placed  below.  The  pairs  are  twisted  twice  and  crossed  and 
another  pin  placed,  which  is  closed  by  twisting  twice  and  crossing. 


□ 


RULES  FOB  MAKING 


105 

=□ 


LINE  B,  COL.  12, 
Dice  Holes,  Slanting  Hole. 


fr 


181 


<l9iffS!fif!fiiiP^i 

If  222&I211! 

!5Wf«lf-  


1  _ 


~W—  - 

This  is  a  cloth-stitched  ground  alternated  with  a  grilled  ground.  The  con- 
ductor runs  back  and  forth  from  left  to  right,  and  then  from  right  to  left  hori- 
zontally through  the  pendant  pairs :  but  the  opened  and  closed  squares  themselves 
are  placed  obliquely;  that  is,  their  sides  or  margins  are  on  the  diagonal.  The 
solid  and  open  parts  are  made  by  linen-stitching :  but  in  the  open  parts  both  the 
worker  and  the  pairs  it  traverses  are  twisted  twice.  In  starting  an  open  grill, 
there  is  first  one  open  square,  the  next  time  three  grilled  squares,  then  five,  next 
seven.  Then  one  decreases  similarly.  There  is  thus  one  hole  at  each  side,  left 
and  right;  one  at  the  top  and  bottom  center  and  seven  holes  across  through  the 
middle  whether  counted  vertically  or  horizontally. 

In  this  connection  it  may  be  interesting  to  refer  to  Line  D,  Column  14  and 
Line  H,  Column  16. 


□: 


106 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


□= 


LINE  B,  COL.  13, 
Point  de  Tresse  with  Plain  Picots  in  Lower  Joints. 


This  sample  requires  twenty  pairs,  four  to  each  braid. 

The  picot  just  below  the  lower  joining  of  each  two  braids,  is  made  with 
the  left-hand  thread  in  the  same  manner  as  usual.  The  threads  should  be 
twisted  before  they  are  crossed,  as  crossing  would  push  the  picot  up  the  side 
of  the  braid.   The  braids  then  intersect  each  other  with  a  linen-stitch. 


RULES  FOR  MAKING 


107 


LINE  B,  COL.  14, 
A  Spotted  Italian  Ground. 


This  pretty  ground  is  very  quickly  and  easily  made. 

Four  passive  or  vertical  pairs  besides  the  weaver  are  required  in  the  making 
of  each  spot.  These  four  pairs  are  each  twisted  once.  The  two  center  ones 
then  cloth-stitch  and  are  twisted  once :  a  pin  is  placed  and  closed  by  linen-stitch- 
ing; and  these  two  central  pairs  are  again  twisted  once.  One  pair  now  works 
towards  the  left  and  one  towards  the  right,  each  cloth-stitching  with  a  remaining 
vertical  pair.  A  pin  is  here  placed  between  the  two  left-hand  pairs,  and  another 
pin  between  the  two  right-hand  ones,  all  four  are  again  twisted  once,  and 
are  now  ready  to  be  cloth-stitched  four  times  by  the  working  pair.  The  spot  or 
dot  pairs  are  not  twisted  again  until  the  weaver  has  woven  through  them  four 
times. 


P: 


108 


□: 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  B,  COL.  14— Continued, 
A  Spotted  Italian  Ground. 

The  weaver  works  all  the  way  across  the  lace  from  one  side  to  the  opposite 
edge ,  then  back ;  without  being  twisted  either  between  dots  or  in  traversing  them : 
but  the  conductor  can  be  twisted  twice,  if  one  wishes,  at  the  edge  of  the  lace 
beyond  the  outermost  columns  of  spots. 

The  bottom  or  end  of  the  circle  is  completed  in  the  same  way  only  reversed, 
that  it  is  begun — by  placing  a  pin  below  the  last  line  of  the  weaver  between  the 
two  left-hand  pairs  of  the  dot,  and  another  pin  between  its  two  right-hand  pairs ; 
then  by  twisting  each  pair  once,  cloth-stitching  the  two  left-hand  ones  and  cloth- 
stitching  the  two  right-hand  ones ;  then  twisting  each  pair  once  more,  linen-stitch- 
ing the  two  that  are  now  in  the  center,  twisting  them  once,  placing  a  pin,  closing 
it  by  a  linen-stitch,  again  twisting  these  central  pairs  once,  so  that  they  may  be 
ready  to  linen-stitch  through  the  other  two  pendent  pairs. 


RULES  FOR  MAKING 


109 

=□ 


LINE  B,  COL.  15, 
Fat,  Maltese  Petals,  Leaves,  Seeds,  Grains,  Wheat  Ears,  Paddles 


Each  leaf  is  made  of  four  threads  woven  as  are  the  ordinary  Cluny  petals; 
but  made  very  fat  or  wide,  even  though  one  leaf  overlaps  another.  A  little  prac- 
tise enables  one  to  produce  even  edges. 


110 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  B,  COL.  16, 
Abruzzian  or  Pescolane  Cross  Pattern. 


C°XCX< 


This  pattern  is  the  same  as  Line  A,  Col.  16 — Mezza  Cambruccia — except 
that  between  an  upper  row  of  spiders  and  the  row  beneath  it,  each  pair  of  threads 
leaving  one  spider  passes  obliquely  through  two  other  sets  of  threads  before  en- 
tering a  lower  spider.  Thus  little,  hollow,  diagonal  squares  or  double  crosses  are 
formed  between  spiders.  The  two  pairs  of  threads  that  leave  the  lower  right- 
hand  end  of  an  upper  spider  pass  obliquely  to  the  right  into  the  left-hand  upper 
end  of  the  next  spider  just  below  to  the  right,  and  vice  versa.  Each  of  these  pairs 
of  threads  is  twisted  once  between  intersections  with  other  pairs  of  threads. 


UTILES  FOR  MAKING 


111 


1 


The  linen  is  four  pairs  wide ;  the  grille  only  two.  Each  pair  is  twisted  once 
in  the  grille  work.  A  supporting  pin  should  be  placed  between  threads  at  im- 
portant junctions  to  help  one  find  the  place,  and  to  keep  the  line  straight ;  but 
should  not  be  left  in  place  more  than  one  line  back,  or  one  cannot  pull  up  the 
loose,  spread  threads  which  the  pins  leave.  The  twisted  pairs  spread  or  push  the 
cloth-work  away  from  them,  and  this  pushing  inward  of  the  linen  must  be 
specially  guarded  against  on  the  long  sides.  Where  the  grille  and  cloth  edges 
meet,  the  margin  pair  always  belongs  to  the  linen. 


112 

□= 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  B,  COL.  18, 
Moulinet. 


This  ground  was  originated  by  Mme.  H.  H.  de  J uillien  and  took  a  prize  at  one 
of  the  leading  expositions  in  Milan. 

Sixteen  pairs  are  required  for  the  making  of  each  mesh,  as  two  braids  enter 
at  the  upper  left  and  two  at  the  upper  right  of  each  little  solid  square.  In  making 
these  squares,  one  must  be  careful  to  spread  out  one 's  threads  in  order  to  prevent 
the  appearance  of  a  hollow  streak  in  the  center  of  the  square.  In  weaving  this 
solid  dot,  one  cloth-stitches  the  innermost  pair  of  the  inner,  upper,  left-hand 
braid  through  the  pairs  of  the  two  right-hand  braids.  Then  one  uses  the  other 
pair  of  the  inner,  upper,  left  hand  plait  and  again  linen-stitches  down  through 
the  right-hand  pairs.  One  can  now  reassemble  the  two  pairs  of  the  upper,  inner 
left-hand  tress  and  begin  a  new  one  sloping  towards  the  right  below  the  solid 
square.   Returning  to  the  upper  left-hand,  one  uses  first  the  inner  and  then  the 


RULES  FOB  MAKING 


113 


LINE  B,  COL.  18— Continued, 
Moulinet. 


outer  pairs  of  the  remaining  braid  as  weavers,  cloth-stitching  them  successively 
through  the  four  pairs  coming  from  the  upper  right.  This  done,  the  solid  square 
is  completed  and  can  be  supported  at  its  base  by  a  pin. 

The  braids  should  not  be  made  too  long  or  they  will  buckle  up  or  out.  Loops 
or  picots  occur  at  each  side  of  the  center  of  every  plait  to  relieve  the  straightness 
and  stiffness  of  the  lattice  background.  The  picots  here  shown  are  the  plain, 
ordinary  ones,  but  knotted  picots  can  be  used  instead  should  one  prefer. 

Those  picots  used  in  this  sample,  which  fall  to  the  right  of  a  braid,  are  made 
by  using  the  rightmost  thread  of  that  plait,  placing  a  pin  under  it  with  the  point 
towards  the  left,  raising  the  point  downwards  towards  the  right  over  the  thread, 
and  sticking  the  pin  into  the  indicated  dot  on  the  pricking.  To  prevent  a  gap  in 
the  braid,  one  should  make  the  picot  immediately  after  twisting,  and  should 
recommence  the  tress  by  twisting,  pulling  the  threads  up  tight.  The  picot  on 
the  left  of  the  braid  is  made  by  using  the  leftmost  thread,  holding  the  pin  in 
the  left  hand,  placing  its  point  downwards  towards  the  right  under  the  thread, 
bringing  it  downwards,  up  over  the  thread,  towards  the  left  and  into  the 
indicated  pinhole. 


□: 


114 


A  LACE  GUIDE  FOE  MAKERS  AND  COLLECTORS 


■D 


LINE  C,  COL.  1, 
Plain  Hole  Ground,  Torchon,  Reseau  Stitch,  Einfacher  Locherschlag 


This  very  simple  net  ground  is  made  by  twisting  and  crossing,  and  placing  a 
pin.  The  pin  is  closed  by  twisting  and  crossing.  The  mesh  runs  obliquely. 


RULES  FOE  MAKING  115 

— n 


LINE  C,  COL  2, 

Scotch  Broom  Stitch,  Point  Jeunet  ou  Genet,  Ziergrund  mit 
Schragstreifen-Musterung. 


This  requires  three  pairs.  One  enters,  divides,  and  becomes  one  of  the  two, 
long,  parallel  lines.  A  second  pair  divides,  and  forms  the  other  of  the  two,  par- 
allel lines.  Then  a  third  pair  enters  at  the  upper  left.  This  stitch  is  made  from 
right  to  left  by  twisting  and  crossing  once  each  time.  The  little  bars  or  barrettes 
between  the  two,  double  bands  of  parallel  lines  are  made  by  twisting  three  times. 
When  one  reaches  the  edge  of  the  lace  on  the  left,  the  pairs  have  to  be  knotted  and 
cut  off  unless  they  form  part  of  a  long,  continuous  pattern  made  by  the  French 


116 


□F 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


■■D 


LINE  C,  COL.  2— Continued 

Scotch  Broom  Stitch,  Point  Jeunet  ou  Genet,  Ziergrund  mit 
Schragstreifen-Musterung. 

method.  The  worker  entering  at  "1"  intersects  a  parallel  line  by  twisting  and 
crossing,  and  continues  towards  the  left,  twisting  and  crossing  through  the 
second,  parallel  line,  then  twisting  and  crossing  with  the  barrette  that  enters  at 
"  2. "  Here  a  pin  is  placed  and  closed  by  twisting  and  crossing.  As  one  descends 
towards  the  right,  one  intersects  by  twisting  and  crossing ;  a  pin  is  placed  at  "  3 ' ' 
and  closed  by  twisting  and  crossing,  which  leaves  a  barrette  pair  hanging  towards 
the  right;  this  is  twisted  three  times  and  is  now  ready  to  enter  the  set  of  lines 
in  the  band  below.  Then  one  works  to  the  left  towards  "  4, "  where  another  bar- 
rette enters  from  above. 


RULES  FOB  MAKING 


117 


LINE  C,  COL.  3, 
Brussels,  Droschel,  Vrai  Reseau,  Point  d'Angleterre  Net,  Drochel. 


~         «~  A  ^  J? 


See  Line  B,  Column  3. 

This  mesh  made  with  the  support  of  pins  is,  in  the  hands  of  an  amateur  at 
least,  much  more  regular  and  pleasing  than  when  pins  are  not  employed.  The 
ground  requires  four  pairs  to  each  stitch.  Commencing  with  the  vertical  side, 
one  braids  twice — thus  making  a  whole-stitch.  A  pin  is  then  placed  and  closed 
by  the  repetition  of  the  two  plaits  or  whole-stitch.  This  finishes  one  vertical  side. 
The  other  vertical  side  is  made  in  the  same  way.  After  these  two  are  finished,  one 
can  begin  the  two  lower  oblique  sides.  One  pair  should  be  taken  from  each  braid 
— the  pairs  which  lie  nearer  the  center.  These  should  each  be  twisted  twice,  and 
should  then  be  brought  together  in  position  for  forming  the  next  vertical  braid. 
One  thus  produces  a  six-sided  mesh  with  two  braided  and  four  twisted  sides,  the 
latter  coming  at  the  top  and  bottom  of  the  mesh ;  the  plaited  edges,  at  the  two 


118 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


■■D 


LINE  C,  COL.  4, 

Rose  Ground,  Scandinavian  Ground,  Point  du  Mariage,  Gelosia,  Tulle  Double. 


Rose  Ground  is  practically  the  same  as  the  small-meshed  Tulle  Double,  except 
that  the  pins  are  differently  arranged  so  as  to  make  a  more  open  mesh. 

The  pairs  are  twisted  twice  and  crossed,  then  pinned,  again  twisted  twice, 
and  crossed  to  close  the  pin. 

A  stitch  is  made  between  the  pairs  one  and  two,  and  a  pin  placed  at  three. 
Then  a  stitch  is  made  with  the  pairs  four  and  five  and  a  pin  placed  at  six,  then 
a  stitch  is  made  between  the  pairs  seven  and  eight,  and  a  pin  placed  at  nine,  et- 
cetera. When  one  has  reached  the  end  of  this  row,  one  starts  again  at  the  upper 
right,  using  the  pairs  ten  and  eleven,  placing  a  pin  at  twelve.  Then  using  ten 
and  twelve,  placing  a  pin  at  thirteen;  then  using  three  and  thirteen,  placing  a 
pin  at  fourteen ;  then  using  three  and  fourteen,  placing  a  pin  at  fifteen,  et  cetera ; 
leaving  one  pair  hanging  after  each  stitch.   Every  pin  is  closed  without  exception. 


RULES  FOB  MAKING 


LINE  C,  COL.  5, 
Old  Buckingham,  Fond  de  Milan. 


Each  stitch  requires  four  pairs,  and  none  of  them  should  be  twisted.  One 
should  work  from  the  right  to  the  left  all  the  way  across  the  piece,  cloth-stitching 
each  pair  as  one  encounters  it,  working  the  cross  and  the  passive  pairs  in  a  diagonal 
line  descending  towards  the  left,  momentarily  considering  the  pair  that  comes 
from  the  right  as  a  weaver.  A  pin  should  be  put  through  the  center  of  each 
cross.  Then  one  should  return  in  the  other  direction,  weaving  the  pears  that 
should  now  be  hanging  ready. 


120 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  C,  COL.  6, 

Slavonian  Style  Virgin  Point,  "Point  a  la  Vierge"  nach  Slavischer  Art, 


>  •  .0.  < 
>•<>•< 

O.  -0. 

>.<>•< 

.o: .  <s 


This  form  of  Virgin  Point  requires  four  pairs  and  two  pins  to  each  motif 
or  block.  One  pin  is  placed  at  the  center  top ;  the  other  at  the  center  bottom.  The 
upper,  left-hand  ornament  should  be  made  with  the  two  pairs  that  enter  at  the 
upper,  left-hand;  twisting  once,  crossing,  twisting.  The  same  is  repeated  at  the 
upper,  right-hand  corner.  Then  the  two  center  pairs  are  taken,  one  from  each 
ornament,  twisted  once  and  crossed.  Here  a  pin  is  placed  and  closed  by  twisting 
and  crossing  once.  The  two  pairs,  which  are  now  at  the  left,  are  twisted 
and  crossed  once.  The  same  is  done  with  the  two  pairs  at  the  right.  The  same 
is  repeated  with  the  two  pairs  now  at  the  center,  that  is,  one  from  each  side.  Here 
another  pin  is  placed  and  closed  by  twisting  and  crossing  once.  The  two,  lower 
ornaments,  one  at  the  right  and  one  at  the  left,  are  now  made  by  twisting,  crossing 
and  twisting  once.  These  two  lower  ornaments  serve,  of  course,  as  upper  ones 
for  squares  that  are  to  follow. 


■n 


RULES  FOB  MAKING 


121 

— P 


LINE  C,  COL.  7, 

Square-meshed  Valenciennes  of  Courtrai  and  Menin  (braided  3  or  3V2  times). 


See  Line  A,  Column  7  and  Line  B,  Column  7.  The  Valenciennes  of  Courtrai 
and  Menin  is  made  in  the  same  way  as  that  of  Honneur,  except  that  the  sides  are 
braided  three  or  three  and  a  half  times. 


122 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


■-a 


LINE  C,  COL.  8. 
Devonshire  Brick,  Mignonnette. 


:::: 


* 

:•!«»  * 

friar;*-"  :-; 


11 

m 


WE**"****® 


The  pricking  for  this  is  the  same  as  that  for  the  Devonshire  Cushion  Filling, 
Line  B,  Col.  8,  but  instead  of  every  alternate  square  having  a  point  d 'esprit,  each 
one  is  filled,  which  makes  a  closer  and  more  elaborate  mode.  That  is,  the  pairs 
which  lie  idly  in  Cushion  Filling,  are  here  employed  to  make  other  points  d 'esprit, 
side  by  side  to  the  others.  Below  cutworks  at  each  end  of  them,  the  pairs  are 
twisted  once ;  cloth-stitch ;  a  pin  is  placed ;  the  pairs  are  twisted  three  times ;  are 
closed  by  linen-stitching  and  are  twisted  once  ready  to  form  the  cutworks  directly 
below  them. 


RULES  FOB  MAKING  123 

□    .  □ 


LINE  C,  COL.  9, 
Devonshire  Double  Ground  Pin. 


This  easy,  dainty,  net-like  filling  is  made  by  twisting  every  pair  three  times 
between  encounters.  Two  pairs  at  the  upper  left  and  two  at  the  upper  right 
cloth-stitch  and  are  twisted  three  times.  A  pin  is  placed  under  each  joint.  The 
two  couples  now  at  the  center,  cloth-stitch  and  are  twisted  three-times.  No  pins 
are  put  up  here.  Then  one  pair  to  the  left  and  one  to  the  right,  linen-stitch 
through  the  pairs  they  meet  at  the  left  and  right  respectively,  and  are  twisted 
three  times,  but  no  pins  are  placed  under  these  two  joints.  The  two  center  pairs 
now  linen-stitch  and  are  twisted  three  times,  when  they  recommence  the  stitch 
and  are  supported  by  pins.  Thus  four  pins  are  used  to  a  complete  motif,  placed 
under  the  joints  of  the  four  outer  arms.  The  pricking  shows  four  little  squares, 
each  corner  of  which  is  marked  by  a  pin-prick. 


□- 


124 


A  LACE  GUIDE  FOE  MAKERS  AND  COLLECTORS 


LINE  C,  COL.  10. 
Devonshire  Winkie  Pin  Bars  and  Cutworks. 


1  &  r 


This  ground  is  made  in  almost  the  same  way  as  the  Bohemian  Edged  Devon- 
shire Bars  and  Outworks,  Line  D,  Col.  10.  There  are  two  differences ;  one  lying 
in  the  edge  of  the  bar  and  one  in  the  direction  of  the  leaf  zig-zags.  In  Line  D,  Gol. 
10,  the  different  bands  of  petals  have  been  made  in  parallel  lines.  In  this  ground 
the  zigzags  have  been  made  to  wave  in  opposite  directions.  The  edges  of  the 
vertical  bars  in  this  sample  require  only  five  pairs,  as  the  same  weaver  continues 
throughout,  being  twisted  twice  around  the  winkie  pin. 


UTILES  FOE  MAKING 


125 


■Q 


LINE  C,  COL.  11, 
Point  de  Paris,  Fond  Clair,  Fond  Chant  (Palliser). 


This  mesh  is  made  with  three  instead  of  six  threads,  the  weaver  being  a  single 
thread  One  can  begin  by  hanging  a  pair  of  bobbins  over  a  pin  at  the  right,  using 
one  for  a  weaver  on  an  upper  line,  the  other  for  the  line  next  below ;  then  tying 
them  off  together  around  the  two  pins  at  the  left  border.  In  twisting  the 
verticals,  one  should  work  from  the  left  to  the  right  margin,  thus  alternating 
with  the  direction  in  which  the  weaver  works,  one  coming,  the  other  returning. 
The  vertical  or  diagonal  pairs  should  be  twisted  together  three  times  at  their 
point.of  intersection,  and  a  pin  placed  beneath  the  joint  to  support  it.  Then  the 
worker  weaves  from  the  right  to  the  left,  passing  under  the  right-hand  diagonal 
thread  without  twisting,  and  twisting  thrice  with  the  left-hand  oblique  thread. 


126 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  C,  COL.  12, 
Trude  "H"  Ground  (original)  (American). 


Three  pairs  enter  at  the  upper  left-hand  corner,  and  three  at  the  upper  right- 
hand  corner.  The  ground  is  entirely  made  of  half -stitch :  but  it  is  twisted  twice 
outside  of  every  pin  to  reinforce  it.  Beginning  at  the  upper  left-hand  corner, 
with  the  left  pair  as  conductor,  one  weaves  through  the  middle  and  right-hand 

pairs,  pins,  closes,  works  to  the  lower  left  of  the  little,  corner  ornament  ~f 
Then  works  toward  the  right  again,  entering  the  big  square.    The  upper  right- 
hand  ornament  is  made  in  just  the  reverse  way,  starting  thus  \^    from  the 

right,  and  working  towards  the  left  to  meet  the  weaver  of  the  opposite  ornament. 
They  meet  at  the  center  top  of  the  large  square.    Here  a  pin  is  placed,  each 


RULES  FOB  MAKING 


127 


■a 


LINE  C,  COL.  12— Continued 
Trude  "H"  Ground  (original)  (American). 


pair  twisted  twice,  and  the  pin  closed.  Each  weaver  works  back  towards  its  own 
side,  through  two,  pendant  pairs  and  is  pinned  and  closed  at  its  side  of  the  large 
square.  Then  the  weavers  work  towards  the  center  bottom ;  meet  and  go  out  into 
the  two  little  square  ornaments:  the  right-hand  weaver  now  becoming  the 
upper  left  of  the  succeeding,  large  square  and  therefore  doing  what  was  before 
done  to  make  the  upper  left  ornament.   It  leaves  the  large  square,  works  towards 

the  right  is  pinned  and  closed,   \f-  works  towards  the  left,  is  again  pinned  and 

closed,  and  proceeds  into  the  next  large  square.  The  opposite,  corresponding 
weaver  does  just  the  reverse. 

This  ground  would  not  wash  well. 


□  : 


128 
□= 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  C,  COL.  13, 
Point  de  Tresse  with  Plain  Picots  in  Side  Joints. 


Four  threads  are  required  for  each  braid.  The  plaits  aud  joint  are  made 
as  usual.  If  the  picots  are  made  before  the  joint,  they  push  up  onto  the  sides 
of  the  plaits  above  the  exact  intersection.  Therefore,  they  should  be  made  im- 
mediately after  the  joint,  and  the  braiding  which  follows  should  be  full  and  tight 
so  as  to  push  the  picots  up  into  place.  These  are  the  ordinary  picots,  one  made 
to  the  left  with  the  outside,  left-hand  thread  and  one  to  the  right  with  the 
outside,  right-hand  thread.   Twist  both  pairs  after  finishing  the  picots. 


n 


RULES  FOB  MAKING 


129 


LINE  C,  COL.  14, 
An  Italian  Spider  with  Eye. 


Four  pairs  enter  about  the  top  of  each,  spider,  two  acting  as  outside  or  en- 
circling pairs.  These  two  cloth-stitch  through  each  other  at  the  top  of  the  spider, 
one  then  working  towards  the  left,  the  other  towards  the  right.  These  same  pairs 
meet  again  at  the  bottom  of  the  spider,  linen-stitching  through  each  other  to 
finish  it.  The  other  two  pairs  that  enter  just  below  the  top,  one  coming  from  the 
upper  left,  one  from  the  upper  right,  cloth-stitched  through  the  outlining  pairs 
and  meeting  each  other  just  inside  of  them,  linen-stitch  through  each  other  and 
then  pass  out  of  the  spider  again  in  the  same  manner  as  they  entered.  Two 
other  pairs  do  likewise  in  the  lower  part  of  the  spider's  body  just  before  the 
encicrcling  pairs  re-meet,  thus  forming  two  small  crosses  inside  of  the  spider, 
one  at  its  upper,  one  at  its  lower  end,  leaving  a  hole  or  eye  in  its  center.  The 
spider  should  not  be  made  too  long,  and  its  body  should  be  supported  at  each 
end  by  a  pin.  There  is  no  twisting  inside  of  the  spider-body,  nor  are  its  edges 
twisted. 

But  outside,  every  pair  is  twisted  twice  before  intersecting  every  other  pair 
that  it  meets :  and  it  traverses  all  of  these  by  linen-stitching. 


□= 


130 
□= 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  C,  COL.  15, 

Thin  Cluny  Petals,  Leaves,  Armelle,  Armeletta,  Grains,  Seeds,  Wheat  Ears, 

Paddles. 


These  petals  are  made  like  those  of  Line  B,  Col.  15,  except  that  they  are  at- 
tenuated in  form. 


RULES  FOR  MAKING  131 

 —    ==□ 


LINE  C,  COL.  16, 
Abruzzian  Lesca  telle. 


This  is  the  same  as  line  B,  Col.  16,  or  Abruzzian  Cross  Pattern,  except  that 
it  requires  six  pairs  to  make  each  spider,  and  that  between  spiders  the  three 
pairs  leaving  an  upper  left-hand  spider  cross  diagonally  through  the  three  pairs 
of  threads  leaving  the  next  nearest  right-hand  spider. 


I 


132 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  C,  COL.  17, 
Trude  "P"  Ground  (original)  (American). 


The  pairs  are  twisted  four  times  and  crossed  and  one  must  be  careful  to 
take  up  the  correct  pairs.  The  pins  are  not  closed.  On  one  horizontal  line  a  pair 
works  across  towards  the  right,  twisting  four  times  and  crossing  as  it  goes. 
When  it  returns,  it  weaves  from  the  right  towards  the  left.  This  reverse  action 
tilts  the  circles  slightly  first  to  one  side,  then  to  the  other.  The  horizontal  pair 
always  works  with  the  very  next  hanging  pair  it  encounters.  Between  the  hori- 
zontal lines,  wherever  two  pendant  pairs  meet  each  other,  they  are  interwoven 
with  the  same  four-twist-and-cross  stitch. 


=Q 


RULES  FOB  MAKING 


133 


□  -□ 


LINE  C,  COL.  18, 
Genoese  Grilled  Six-leaved  Marguerite. 


Each  leaf  or  petale  requires  four  pairs.  Every  pair  is  twisted  once  between 
intersections.  One  pair  serves  as  a  weaver  and  is  fastened  Winkie  Pin  fashion 
— that  is,  outside  the  leaf  around  a  pin,  the  same  pair  continuing  as  weaver. 
There  are  three  pins  on  each  side  of  every  leaf.  After  the  last  passage  or  inter- 
weaving of  the  conductor  nearest  the  center  of  the  " Marguerite,' '  each  pair 
including  the  weaver,  is  twisted  once  ready  to  make  the  "  Marguerite ' '  or  daisy 
center.  Here,  if  two  leaves  intersect,  they  do  so  like  two  Cluny  braids,  two 
pairs  used  as  one  single  thread.  If  three  intersect,  the  two  top  diagonal  ones 
cloth-stitch  like  two  Cluny  braids,  and  a  pin  is  placed ;  then  the  third  horizontal 
leaf,  cloth-stitches  through  these  upper  two,  each  two  upper  pairs  being  used 
as  one  single  thread.  The  pin  is  now  removed  and  replaced  below  the  triple 
intersection,  and  is  closed  by  again  cloth-stitching  the  eight  diagonal  pairs,  using 
two  pairs  as  one  thread. 


n  □ 


This  net  is  easy,  strong  and  dainty.  Is  made  by  twisting  twice  and  crossing, 
placing  a  pin,  and  twisting  twice  and  crossing  to  close  it. 


RULES  FOR  MAKING 


135 


One  of  these  meshes  requires  six  pairs  like  the  six  legs  of  a  spider,  two  at 
the  left,  two  at  the  top,  and  two  at  the  right.  The  body  is  made  by  means  of 
half-stitch.  A  pin  should  be  placed  at  the  top  and  the  bottom  of  each  spider 
between  the  central  legs.  One  begins  below  the  top  pin  by  making  a  half -stitch. 
Then  the  right-hand  leg  traverses  with  a  half -stitch  all  the  right-hand  pairs, 
and  the  other  leg  all  the  left-hand  pairs.  Then  one  returns  to  the  two  central 
pairs  making  another  half -stitch,  and  again  traversing  for  the  second  time  all  the 
right-hand  and  all  the  left-hand  pairs.  One  then  returns  to  the  center  and  does 
this  a  third  time.  Then  to  finish  the  body  one  half -stitches  with  the  two  pairs 
now  at  the  center  and  places  a  pin  below  them.  Now  one  uncrosses  the  two  legs 
at  the  left  and  the  two  at  the  right,  which  should  be  twisted  only  and  not  crossed 
between  one  spider  and  the  following  one.  Only  the  central  legs  begin  and  end 
with  a  full  half -stitch. 


□ 


136 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


■D 


LINE  D,  COL.  3, 
Droschel  de  Bruxelles,  Drochel. 


The  principle  of  this  mesh  is  the  same  as  that  described  under  Lines  B  and  C, 
Column  3 ;  except  that  at  the  top  and  bottom  there  is  only  one  twist,  and  that 
the  sides  are  twisted  and  crossed  six  times. 

This  is  not  the  usual  Drochel  de  Bruxelles. 


RULES  FOR  MAKING 


137 


LINE  D,  COL.  4, 
A  Flemish  Filling,  a  Lille  Mode. 


.4  •  J 


■  "J 


iisii 


This  is  made  in  almost  the  same  way  as  Line  C,  Col.  4,  ' '  Rose  Ground,  Scan- 
dinavian Ground,  Point  du  Mariage,  Gelosia,  Tulle  Double, ' '  except  that  the 
pins  are  so  arranged  as  to  make  the  mesh  more  circular,  less  elliptical ;  and  that 
the  pairs  are  twisted  three  times  before  each  crossing  instead  of  being  twisted  only 
twice. 


138 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  D,  COL.  5, 
Plain  Lattice  Ground,  Filet,  Einfacher  Gittergrund. 


Every  pair  is  twisted  three  times  between  intersections.  The  joints  are  made 
by  linen-stitching.  A  pin  should  be  placed  in  the  center  of  each  joint  and  left 
there  until  the  corresponding  joint  on  the  line  below  is  ready  to  be  pinned.  The 
upper  pin  should  then  be  removed  in  order  to  prevent  leaving  a  hole;  but 
it  is  necessary  to  use  pins  in  order  to  preserve  the  alignment  of  the  threads,  which 
must  be  pulled  well  into  place. 


RULES  FOR  MAKING 


139 


LINE  D,  COL.  6, 

Ornamental  Ground  with  Striped  Effect  in  Diagonal  Squares.  Ziergrund 
mit  Streifen-Musterung  in  Karo-Einteilung. 


The  two  pairs  entering  the  upper,  left-hand  ornament  are  twisted  once, 
crossed  and  twisted  once.  The  two  pairs  entering  the  upper,  right-hand  orna- 
ment are  treated  in  the  same  way.  The  two  pairs  now  at  the  center,  one  from  the 
left  and  one  from  the  right,  are  twisted  once  and  crossed.  Here  at  the  center 
top  a  pin  is  placed  and  closed  by  twisting  once  and  crossing.  The  pairs  lying 
upon  the  pillow  may  now  be  considered  in  their  order  from  left  to  right  as 
first,  second,  third  and  fourth.  The  third  and  fourth  pairs  are  twisted  once 
and  crossed.  A  pin  is  placed  at  the  center  right  and  closed  by  twisting  and 
crossing.  Then  the  third  and  second  pairs  are  twisted  and  crossed  without 
pinning.  Then  the  second  and  first  pairs  are  twisted  once  and  crossed;  a  pin 
is  placed  at  the  center  left  and  closed.  Then  the  second  and  third  pairs  are 
twisted  once  and  crossed ;  a  pin  is  placed  at  the  center  bottom  and  closed,  and  one 
is  ready  to  make  the  lower  ornaments  as  they  were  made  above. 


Q 


140 


Q 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


-■D 


LINE  D,  COL.  7, 

Square-meshed  Valenciennes  of  Bruges,  Ypres  and  Alost 
(braided  4  or  4*/2  times). 


See  Line  A,  Column  7,  Line  B,  Column  7  and  Line  C,  Column  7.  The 
square-meshed  Valenciennes  of  Bruges,  Ypres  and  Alost  is  made  in  the  same 
way  as  that  of  Honfleur,  except  that  the  sides  of  the  meshes  are  braided  four  or 
four  and  a  half  times  instead  of  one  or  one  and  a  half  times.  This  "  Val"  ground 
is  more  open  and  clear  than  the  three  mentioned  above,  throwing  any  pattern 
worked  upon  it  into  greater  contrast  and  distinction.  The  mesh  described  under 
Line  E,  Column  7  forms  an  even  clearer  background. 


□= 


RULES  FOR  MAKING  141 

•  '    "   —      ■  '  ■  '  ■  =□ 


LINE  D,  COL.  8, 
Devonshire  Taunton 


After  making  the  leaf -shaped  outwork,  a  pin  should  be  placed  to  support  it 
and  the  pairs  twisted  three  times.  They  each  cloth-stitch,  and  are  twisted  three 
times,  one  going  to  the  left  and  one  to  the  right,  where  they  meet  pairs  coming 
from  other  petals,  through  which  they  linen-stitch.  Pins  are  here  placed,  the 
pairs  twisted  three  times ;  the  pins  closed ;  the  pairs  again  twisted  three  times. 
Bach  pair  now  travels  back  to  its  own  original  line  of  vertical  petals.  At  the  top 
of  the  leaf,  its  two  pairs  meet  and  cloth-stitch.  The  joint  is  supported  by  a  pin; 
the  pairs  are  twisted  three  times  and  are  ready  to  begin  a  new  leaf. 


142 


□r 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


-a 


LINE  D,  COL.  9, 
Trude  "C"  Ground  (original)  (American). 


Three  pins  are  placed,  one  directly  above  the  other,  through  the  centers  of 
the  squares,  and  one  pin  to  each  side.  The  first  three  support  three  small 
crosses;  the  fourth  and  fifth,  that  is,  the  two  to  the  side,  support  large  crosses. 
Beginning  directly  above  the  top  center  pin ;  that  is,  the  uppermost  of  the  three, 
the  pairs  are  twisted  twice  and  crossed;  a  pin  is  placed.  The  pairs  are  then 
twisted  once  and  crossed;  a  second  pin  is  placed  and  the  pairs  are  twisted 
twice.  Crossings  are  then  made  with  the  pairs  at  each  side ;  pins  are  placed  under 
these  long  crossings  to  support  them,  and  one  is  now  ready  to  twist  twice  and 
begin  over,  the  third  pin  at  the  bottom  and  the  first  pin  at  the  top  of  a  motif 
being  the  same. 


i 


RULES  FOB  MAKING 


LINE  D,  COL.  10, 
"Bohemian  Edged"  Devonshire  Bars  and  Cutworks. 


Six  pairs  are  required  for  each  bar,  and  two  couples  for  each  band  or  zig- 
zag of  cutworks.  The  center  or  solid  part  of  the  bars  is  made  by  linen-stitching. 
At  their  edges  the  weaver  is  twisted  twice,  cloth-stitched  through  the  outside  or 
edge,  pendant  pair,  which  has  already  been  twisted  twice,  and  hung  outside  of 
the  pin :  the  former,  pendant  pair  turning  inwards  and  becoming  the  new,  weaver, 
is  twisted  twice  before  it  enters  the  solid  part  of  the  braid.  The  leaves  or  petals 
are  made  in  the  usual  way.  At  the  point  where  they  touch  the  braid,  the  leaf 
pair  next  to  it,  cloth-stitches  in  and  out  of  the  braid,  a  pin  being  placed  in  the 
center  of  the  stitch  to  hold  both  the  braid  weaver  and  the  leaf. 


144  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□ 


LINE  D,  COL.  11, 
Tulle  Double  or  Redina  Point  de  Paris  Variation. 


All  the  threads  should  be  twisted  twice  between  stitches.  Where  the  diagonal 
threads  meet  after  having  been  twisted  twice,  the  two  inner  ones  should  be 
crossed,  a  pin  placed,  the  pairs  twisted  twice,  closed  by  crossing,  and  again 
twisted  twice,  ready  to  cloth-stitch  through  the  horizontal  threads,  which  should 
also  be  twisted  twice. 


□= 


=□ 


RULES  FOB  MAKING 


LINE  D,  COL.  12, 
Torchon,  Russian  or  German. 


This  is  a  scrawny-looking  ground,  which  does  not  wash  well. 

The  ground  is  entirely  made  of  half -stitches.  Three  pairs  enter  at  the 
upper  left  and  three  at  the  upper  right.  Pins  are  placed  at  the  top,  bottom  and 
two  sides  of  the  large  shaded  square,  and  at  each  corner  of  the  small  squares. 
The  part  of  the  pattern  that  is  worked  over  the  little  square — at  the  upper  left- 
hand  corner  of  the  big,  shaded  square — is  begun  by  weaving  from  the  left 
towards  the  right  through  the  middle  and  right-hand  pairs,  placing  a  pin  and 
closing  it,  returning  towards  the  left  through  the  same  pairs  to  the  lower  left- 
hand  corner  of  the  little  ornamental  square,  around  a  pin  there  which  is  closed, 
towards  the  right  to  the  top  center  of  the  big,  shaded  square.  Another  ornament 
is  made  in  the  same  way  reversed  at  the  upper  right  of  the  big,  shaded  square. 
Thus  one  weaver  from  each  side  meets  and  crosses  at  the  top  of  the  big  dark 


146 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  D,  COL.  12— Continued 

Torchon,  Russian  or  German. 

square.  Here  a  pin  is  placed  and  closed.  After  passing  this  pin,  one  weaver 
hangs  at  the  left,  the  other  goes  to  the  right,  half -stitching  through  the  remaining 
pairs  until  it  reaches  the  right-hand  center  pinhole,  which  is  closed.  One  now 
works  through  the  pairs  hanging  at  the  left,  straight  across  to  the  left  hand 
center  where  a  pin  is  placed  and  closed.  Then  one  works  back  towards  the  right 
to  the  center  pin  at  the  base  of  the  large,  shaded  square.  The  pairs  are  now 
ready  to  make  the  little  ornaments,  which,  though  they  are  below  the  particular 
large,  dark  square  upon  which  one  has  been  working,  are  above  large  squares 
which  are  to  follow ;  so  that  from  here  on  the  rule  duplicates. 
See  Line  C,  Column  12. 


RULES  FOR  MAKING 


LINE  D,  COL.  13, 
Point  de  Tresse  with  Plain,  Side  Picots. 


These  braids  are  made  in  the  usual  way,  and  of  course  must  not  be  made 
too  long.  The  picots  are  made  in  the  ordinary  way ;  that  is,  by  using  the  right- 
most thread  for  making  the  right-hand  picot,  placing  a  pin  under  the  thread 
with  the  point  downwards  towards  the  left,  raising  the  point  downwards  towards 
the  right  over  the  thread,  and  sticking  the  pin  into  the  indicated  dot  on  the 
pricking.  To  prevent  a  gap  in  the  braid,  one  should  make  the  picot  immediately 
after,  twisting,  and  should  recommence  the  tress  by  twisting,  pulling  the  threads 
up  tight.  The  picot  on  the  left  of  the  braid  is  made  by  using  the  leftmost 
thread,  holding  the  pin  in  the  left  hand,  placing  its  point  downwards  towards 
the  right  under  the  thread,  bringing  it  downwards,  up  over  the  thread,  towards 
the  left  and  into  the  indicated  pinhole. 

When  interweaving  the  braids  through  each  other,  one  should  make  a  cloth- 
stitch,  using  two  bobbins  as  though  they  were  one,  and  supporting  the  joint 
by  a  pin. 


148 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  D,  COL.  14, 
An  Italian  Filet  with  Toile  Dots. 


Four  pairs  enter  at  the  top  of  the  dot  and  the  weaver  traverses  it  in  cloth- 
stitch  twice  from  the  right  and  twice  from  the  left  alternately,  working  all  the 
way  from  one  side  of  the  lace  to  the  other  through  both  twisted  grille  and  linen- 
stitch  dots.  Each  pair  should  be  twisted  once  in  making  the  grille.  Pins  are 
used  only  at  the  encountering  edges  as  supports,  or  to  guide  one  so  as  to  avoid 
confusion.  They  should  be  placed  in  the  middle  of  the  cloth-stitch — that  is, 
one  thread  above,  one  below,  and  one  each  side  of  the  pin. 


RULES  FOR  MAKING 


149 


-D 


LINE  D,  COL.  15, 
Double  Picots. 


These  cannot  be  made  on  both  sides  of  a  braid  at  the  same  spot,  as  that 
would  leave  an  ugly  hole  in  the  plait,  so  one  must  make  all  the  picots  either 
towards  the  upper  or  towards  the  lower  side  of  the  tress.  In  this  sample  they 
are  made  downwards,  towards  the  lower  side.  The  pins  holding  the  picots 
should  be  pricked  right  into  the  line  of  the  braid,  not  to  one  side,  as  that  would 
pull  the  plait  to  one  side,  out  of  plumb.  Two  of  the  braid  threads  are  used 
for  making  the  picots — the  two  that  fall  conveniently  towards  the  lower  side. 
The  right-hand  thread  is  wrapped  first  under,  then  over  the  pin;  the  left-hand 
one  first  over,  then  under  the  pin.  The  pin  can  be  placed  in  the  hole,  and  first 
one  thread,  then  the  other  wrapped  around  it. 


□    =□ 


150.  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  D,  COL.  16, 
Abruzzian  Piscitelli. 


Two  pairs  make  the  long,  vertical  spider  or  fish  (as  the  name  indicates) 
body,  which  is  not  twisted  except  at  the  two  ends.  It  is  made  of  cloth-stitches 
like  a  spider,  but  is  not  pulled  up  around  a  central  pin  as  is  that  animal.  The 
weaver  or  horizontal  pair  cloth-stitches  all  the  way  across  the  lace  in  one  direc- 
tion, returning  in  the  other,  passing  four  times  altogether  through  the  bodies 
of  each  parallel  band  of  fish.  The  fish  come  directly  below  one  another.  The 
working  pair  is  twisted  once  between  fish,  but  is  not  twisted  while  passing 
through  their  bodies.  At  the  top  and  bottom  of  the  band,  above  and  between 
the  passings  of  the  weavers,  at  the  heads  and  tails  of  the  fish,  the  two  fish  pairs 
are  each  twisted  once,  cloth-stitched  through  each  other  and  again  twisted  once, 
in  readiness  to  enter  and  form  the  fish  directly  below.  It  is  well  to  hold  these 
bodies  in  line  by  supporting  the  cloth-stitches  above  the  fish  by  pins,  which  are 
not,  however,  closed,  but  which  should  be  removed  when  the  next  crossing  is 
made,  so  that  the  threads  may  be  pulled  up  tight,  leaving  no  conspicuous  open- 
ings. 


□  : 


RULES  FOB  MAKING 


151 


LINE  D,  COL.  17, 
Trude  "Q"  Ground  (original)  (American), 


Each  pair  is  twisted  twice  between  cutworks.  Pins  are  used  only  for  sup- 
port. The  horizontal  line  which  traverses  the  ground  between  the  cutworks — 
that  is,  the  one  touching  the  point  d 'esprit  diamonds  at  their  lower  and  upper 
tips— is  cloth-stitched  with  the  pair,  which  in  the  cutwork  just  finished  was  the 
weaving  thread  and  its  mate,  thus  securing  the  weaver ;  but  is  only  laid  between 
the  two  threads  of  the  pendant  or  scaffold  pair,  in  order  to  keep  the  joint  as 
small  as  possible.  At  the  foot  of  each  open  diamond,  the  two  hanging  pairs 
cloth-stitch  through  each  other  before  meeting  the  horizontal  pair.  The  cutwork 
weaver  should  be  left  unmistakably  longer  than  the  other  threads  for  at  least 
several  stitches  after  the  lerdwork  is  finished,  or  it  may  be  inadvertently  pulled 
and  ruin  a  point  d 'esprit  made  some  way  back. 


152  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□   = 


LINE  D,  COL.  17— Continued 

Trade  "Q"  Ground  (original)  (American). 

Four  threads  are  required  for  each  cutwork.  In  starting  at  the  top  of  a 
solid  diamond,  one  proceeds  in  the  usual  way  to  make  a  triangular  or  fan-shaped 
point  d  'esprit.  See  Line  A,  Column  15.  "When  the  center  side  is  reached,  how- 
ever, one  exchanges  the  two  left  scaffolding  threads  for  the  two  outside  ones 
— which  have  first  been  twisted  twice — that  are  found  hanging  directly  to  the 
left.  A  pin  is  placed  between  the  two  pairs  to  support  their  linen-stitch  joint, 
and  the  two  outgoing  pairs  are  twisted  twice  to  help  keep  the  formation  firm. 
At  the  center  of  the  right  side  of  the  solid  diamond,  the  weaving  thread  and  its 
mate  should  be  twisted  once  before  cloth-stitching  to  avoid  showing  a  long,  loose 
thread.  This  pair  is  then  exchanged  by  linen-stitching  through  its  right-hand 
neighbor  from  the  outside,  and  a  pin  is  placed  beneath  the  stitch.  When  making 
the  exchange  at  the  center  of  the  sides,  the  two  left-hand  threads  of  the  cutwork 
must  be  woven  and  secured  before  the  two  right-hand  threads,  laying  the  weaver 
meanwhile  across  some  pins  above,  and  taking  it  down  only  when  ready  to 
exchange  it.  The  two  new  pairs  now  entering  at  the  right  side,  now  make  the 
lower  half  or  triangle  of  the  diamond.  Here  at  the  bottom  of  the  solid  form, 
one  can  pull  and  wind  all  the  bobbins  evenly ;  not  so  at  the  sides.  After  working 
the  weaving  pair  through  the  bottom  of  an  open  diamond  to  the  right  of  its 
former  position,  the  threads  should  be  very  gingerly  pulled  into  a  smooth  twist, 
not  touching  or  coaxing  the  weaver  until  the  other  threads  are  right,  then  using 
this  pair  again  as  the  weaver  for  the  next  cutwork  below  at  the  right. 


□f 


RULES  FOB  MAKING 


153 


LINE  D,  COL.  18, 
Trude  "S"  Ground  (original)  (American), 


.v.  C  L  i  .  L 
R  <.  \  (.  < 

A.  <..  {:  (..  I. 

fwf  Wig 


V 


v 


! 

l!K: 

•tr 

•*** 

♦4  ft 


: 

t 

: 

t  ;: 

mi 

>;<■ 

til 


Each  of  these  star  formations  consists  of  six  equilateral  triangular  points 
d'esprits  or  cutworks,  which  are  held  in  place  by  a  pair  of  twisted,  horizontal 
threads  that  pass  first  to  one  side,  then  back  to  the  other  along  and  between 
the  horizontal  tops  and  bases  of  these  cutworks,  never  through  their  apeces. 
The  horizontal  pair  is  twisted  three  times  between  intersections  or  encounters, 
and  cloth-stitches  through  the  points  d'esprits  pairs.  Under  the  horizontal, 
twisted  pair  and  between  the  left-hand  pendant  threads  of  the  outwork  at  its 
broad  base,  a  pin  is  temporarily  placed.  Another  one  is  put  inside  but  not 
between  the  two  right-hand  threads.  After  the  three  scaffolding  threads  have 
been  pulled  into  place,  any  loop  or  irregularity  left  by  the  weaver  should  be 
carefully  drawn  out. 


154 


□ 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  D,  COL.  18— Continued 
Trade  "S"  Ground  (original)  (American). 

In  finishing  a  cutwork,  whether  at  its  bottom  or  at  its  apex,  the  weaver  and 
its  mate  should  be  tied  once  with  a  granny  knot ;  first,  to  prevent  slipping,  and 
second,  to  make  the  point  sharp  and  small.  Keep  the  weaving  thread  long  to 
distinguish  it  and  to  avoid  accidental  pulling.  Pins  must  be  used  between  the 
upper  and  lower  apeces,  where  they  meet,  to  hold  the  upper  triangle  until  the 
one  just  below  is  made.  The  three  framework  threads  should  then  be  pulled 
until  the  pin  hole  is  closed. 

It  may  be  found  helpful  to  lay  the  weaver  across  two  pins  up  out  of  the 
Avay  of  the  work  until  one  is  again  ready  to  use  it. 


RULES  FOR  MAKING  155 


□ 

LINE  E,  COL.  1 
Tulle  de  Dieppe. 



&&&&&& 

-   . 

• 

This  net  is  obtained  by  twisting  the  pairs  three  times,  crossing,  placing  a 
pin  and  closing  it  by  crossing.   It  is  made  on  the  oblique. 

m  .  

156 

□= 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  E,  COL.  2, 
Petits  Pois  de  Dieppe 


These  spiders  are  made  in  the  usual  way ;  see  Line  H,  Column  2 ;  the  two 
center  top  pairs,  however,  are  twisted  three  times  and  then  cloth-stitch,  having 
a  pin  placed  above  the  joint  before  entering  the  spider.  At  the  bottom  of  the 
spider  the  two  center  pairs,  after  making  the  joint,  have  a  pin  placed  directly 
below.  Thus  there  are  two  pins  between  spiders  vertically  above  each  other. 
The  side  spider  legs  are  also  twisted  three  times. 


RULES  FOR  MAKING 


157 


u 


LINE  E,  COL.  3, 
Tulle  (Bruges?)  (2  twists). 


This  mesh  is  formed  by  twisting  two  bobbins  twice  on  each  side  of  it,  crossing 
their  central  pairs,  placing  a  pin  beneath  the  cross  to  support  it,  and  again 
twisting  the  pair  now  at  the  right-hand  and  the  pair  now  at  the  left-hand,  twice 
each  to  begin  a  new  mesh. 


158 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  E,  COL.  4, 
Plain  Torchon  Spiders. 


Each  spider  requires  six  pairs.  In  this  sample  each  pair  has  been  twisted 
three  times  between  spiders.  Pins  are  used  in  the  center  of  the  spider  bodies 
only.  These  centers  should  be  raised  to  give  an  arched  effect.  This  is  done  after 
the  first  half  of  the  spider  body  is  woven,  by  holding  the  pairs  nearest  the  pin 
up  high  and  tight  against  it  while  closing  it,  closing  the  other,  outer  pairs  lower 
down  and  close  to  the  pricking,  and  pulling  the  outer  pairs  up  tight,  so  that 
the  inner  ones  cannot  sink  down  into  them.  The  spider  is  made  by  cloth-stitching 
the  three  left-hand  pairs  in  consecutive  order  through  the  three  right-hand 
pairs,  putting  up  a  pin,  and  closing  it  by  cloth-stitching  all  the  pairs  through 
each  other  in  the  reverse  direction.  The  three  legs  that  came  in  at  the  upper 
right  of  the  spider  go  out  at  the  lower  right  and  form  the  three  upper  left-hand 
legs  of  another  spider. 


□  : 


RULES  FOB  MAKING 


159 

=□ 


LINE  E,  COL.  5, 
Buratto,  Filet. 


15!i!I!i 


This  ground  has  been  much  used  as  a  network  upon  which  to  embroider. 
It  is  usually  woven,  but  directions  are  here  given  for  making  it  with  bobbins 
on  a  lace  pillow,  should  one  wish  to. 

The  vertical  pairs  are  twisted  three  times  between  intersections.  The  single 
horizontal  thread  is  simply  laid  between  them  at  regular  distances  and  sup- 
ported, at  least  at  every  other  crossing,  by  pins,  which  keep  the  whole  from 
pulling  out  of  alignment.  These  pins  should  not  be  left  in  long  or  they  will 
spread  the  twisted  threads,  leaving  holes  behind. 


160 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


a 


LINE  E,  COL.  6, 

Ornamental  Ground  with  Zigzag  Diagonal  Stripes,  Ziergrund  mit 
Streifen-Musterung  in  Zacken-Einteilung. 


This  Virgin  Point  is  made  fundamentally  the  same  as  the  Ornamental 
Ground  with  Striped  Effect  in  Diagonal  Squares,  Line  D.  Column  6,  only  the 
two  pairs  leaving  the  bottom  of  the  square  or  block  instead  of  intersecting  each 
other,  are  separated.  The  upper  pair,  working  upwards  to  join  by  a  half-stitch 
the  lower  pair  of  the  block  above ;  and  the  lower  pair,  intersecting  by  means 
of  a  half-point,  the  uppermost  pair  of  the  square  below.  Thus  the  block  is 
pulled  apart  into  a  zigzag.  It  is  best  to  make  the  squares  as  one  works  down- 
wards from  right  to  left,  and  then  make  the  ornaments  as  one  reascends  from 
left  to  right.  At  the  edges,  where  certain  pairs  are  lacking,  the  stitches  should 
be  made  as  much  as  possible  like  the  others,  proceeding  in  the  same  way. 


RULES  FOB  MAKING 


161 

=□ 


LINE  E,  COL.  7, 

Square-meshed  Valenciennes  of  Most  and  Ypres  (braided  5  or  5V2  times). 


See  Column  7,  Lines  A.  B,  C  and  D.  The  mesh  of  Alost  and  Ypres  is  made 
in  the  same  way  as  those  described  above,  except  that  the  sides  of  the  mesh  are 
braided  five  or  five  and  a  half  times,  producing  a  peculiarly  distinctive  and 
clear-cut  ground. 


162 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


□ 


LINE  E,  COL.  8, 
Devonshire  Second  Swing  Filling. 


This  stitch  is  apt  to  look  slovenly  unless  it  is  carefully  made. 

After  a  cutwork  has  been  finished,  a  pair  from  the  left,  twisted  three  times, 
cloth-stitches  through  the  lower,  left-hand  pair  of  the  cutwork,  also  twisted 
three  times ;  the  pairs  are  again  twisted  three  times ;  a  pin  is  placed  and  closed 
by  linen-stitching.  Here  the  pairs  are  once  more  twisted  three  times.  The 
left-hand  pair  enters  the  lower  cutwork;  the  right-hand  pair  works  towards  a 
new  circle  on  the  lower  right.  This  filling  is  made  from  the  upper  left  to  the 
lower  right :  first  a  whole  row  of  cutworks,  then  a  whole  row  of  circles,  et  cetera, 
alternately.  No  pins  are  used  for  the  cutworks  themselves,  but  only  in  the 
circles.  The  cutwork  weaver  enters  at  its  upper  left  and  leaves  at  the  lower 
right. 


RULES  FOR  MAKING 


163 


LINE  E,  COL.  9, 
Devonshire  Honeycomb  Filling. 


Fifteen  pairs  were  used  to  make  this  sample. 

Each  pair  is  twisted  between  crossings  and  each  crossing  is  supported 
a  pin,  but  not  closed.  The  pricking  is  made  on  the  square,  not  on 
e  diagonal.  Two  pairs  are  crossed  at  the  upper  right-hand  corner  and  a  pin 
is  placed  below.  Then  the  top  of  the  large  opening  is  made  by  crossing,  and 
here  another  pin  is  placed.  Then  the  small  space  to  the  left  of  the  large  opening 
is  made  by  crossing.  In  this  way  one  works  all  the  way  across  from  the  right 
to  the  left  of  the  lace ;  then  recommencing  at  the  right,  one  makes  a  row  of  little 
crosses  at  the  center  sides  of  the  small  squares  on  the  pricking.  The  large,  long 
crossing  at  the  right  must  always  be  made  before  the  almost  parallel  one  at  the 
left  is  started.  The  long  crossings  come  at  the  center  top  and  bottom  of  the 
squares  on  the  pricking. 


164 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  E,  COL.  10, 
Binche  Mode. 


Six  vertical  threads  and  a  weaving  pair  are  required  for  each  bar,  one  to 
the  right  and  one  to  the  left  of  the  zig-zag,  and  one  pair  is  needed  for  the 
zig-zag  itself;  the  braid  part  of  which  is  made  in  conjunction  with  a  borrowed 
worker,  which  the  zigzag  transfers  to  the  bar  opposite  the  one  from  which  it 
was  borrowed:  borrowing  a  new  worker  from  the  second  bar,  et  cetera.  After 
exchanging  weavers,  one  should  make  two  pins'  length  only  of  the  vertical,  cloth 
band  before  beginning  a  zig-zag  braid,  as  this  furnishes  a  firm  foundation  against 
which  to  pull.   The  conductors  are  twisted  twice  around  the  winkie  pins  at  the 


RULES  FOR  MAKING 


165 

— a 


LINE  E,  COL.  10— Continued 
Binche  Mode. 

side  of  the  upright  bars ;  also  before  and  after  crossing  in  and  out  of  the  zig-zags. 
The  zig-zag  makes  three  braid  stitches  with  its  newly  borrowed  weaver. 

Though  this  stitch  is  simple,  it  is  confusing,  so  the  bar  should  not  be  com- 
pleted more  than  two  pin  holes  ahead  of  any  of  the  rest  of  the  work.  The 
uppermost  conductors  must  be  exchanged  and  braided  in  before  the  next  lower 
pin  hole  of  the  opposite  cloth  bar  can  be  worked.  The  zig-zag  spine  always  hangs 
between  the  bars,  and  two  weavers  cannot  enter  two,  opposite,  cloth  bands  at  the 
same  time.  The  zig-zag  pair  itself  must  not  be  used  by  mistake  for  a  weaver, 
although  the  braid  pair  nearest  the  bar  is  always  used  as  the  exit  conductor. 
One  must  be  sure  to  twist  both  pairs  twice  before  uniting  a  new  weaver  and 
the  spine. 


166  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

□ 


LINE  E,  COL.  11. 
Point  de  Paris  Variation  with  Tressed  Sides. 


The  sides  of  the  four  vertical  pairs  should  be  braided  four  times;  the 
diagonals  twisted  twice  below  the  horizontal  line  and  twice  above  it.  The  weaver 
or  horizontal  pair  is  twisted  twice  between  stitches,  and  linen-stitches  through 
the  diagonals. 


□  : 


RULES  FOB  MAKING 


LINE  E,  COL.  12, 
Torchon. 


This  requires  the  entrance  of  five  pairs  at  each  upper  side  of  the  small,  solid 
junction^square  formed  by  the  crossing  of  the  oblique  bands  of  the  design. 
Half-stitch  should  be  used,  and  the  weaver  must  not  be  confused,  as  using  the 
wrong  pair  leaves  an  ugly  hole.  The  two  weavers,  one  from  the  left  and  one 
from  the  right,  meet  at  "1,"  the  topmost,  central,  point  of  the  small,  solid, 
diagonal  junction-square.  The  right  weaver  closes  the  pin,  returns  towards 
the  right  and  continues  as  general  weaver,  going  from  points  1  to  2,  3,  4,  5  and  6, 
where  it  closes  with  the  third  pair,  which  again  becomes  a  worker,  each  weaver 
continuing  in  its  own  direction;  "4"  and  "5"  are  the  only  pin  holes  in  the 
big,  outer,  open  square  that  do  not  connect  with  something.   They  are  above  the 


168 

□= 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  E,  COL.  12— Continued 
Torchon. 

lower,  central  point  of  the  solid  junction-square  that  is  formed  by  the  crossing 
of  the  diagonal  bands  of  the  design. 

The  ornament  in  the  center  of  the  large,  open  square  is  formed  by  dropping 
a  pair  out  of  the  oblique  bands  after  closing  each  pin,  two  coming  out  of  each 
upper  side  and  re-entering  the  lower  sides  of  the  big  square  after  having  made 
the  ornament.  The  ornament  requires  five  pins,  closed  by  half -stitches,  each  pair 
twisted  twice  between  pins,  but  not  in  closing. 


□: 


□: 


RULES  FOB  MAKING 


169 


■n 


LINE  E,  COL.  13, 
Point  de  Tresse  with  Knotted  Picots. 


One  should  use  the  right  hand  for  the  right-hand  edge,  placing  a  pin  to  the 
left  under  the  rightmost  thread  of  the  plait,  over  the  thread  to  the  left  of  it, 
drawing  the  left-hand  thread  towards  the  right,  under  the  right-hand  thread, 
pointing  the  pin  downwards  and  up  over  the  right-hand  thread,  drawing  this 
latter  up  under  the  left-hand  thread,  through  the  long  loop  formed  between  the 
two  original  hanging  threads,  bringing  the  pin  out  with  this  right-hand  thread 
and  placing  it  in  its  pricked  hole.  The  bobbins  now  cross.  One  should  now 
cross  the  right-hand  one  of  the  next  pair  on  the  left  over  the  left-hand  one  of 
the  picot  pair. 

For  the  left-hand  one  does  the  same  reversed,  with  the  left  hand,  but  in 
finishing  one  should  cross  the  left-hand  bobbin  over  the  right  and  the  same  one 
on  over  the  left-hand  one  of  the  next  interior  pair. 


170 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  E,  COL.  13— Continued 
Point  de  Tresse  with  Knotted  Picots. 


Another  rule  is,  just  to  twist  and  cross  after  making  the  left  and  right 
picots  the  same  as  for  an  ordinary  one,  and  to  twist  before  making  a  picot.  The 
author  prefers  this  method. 

When  interweaving  the  braids  through  each  other,  one  should  make  a  cloth- 
stitch,  using  two  bobbins  as  though  they  were  one  and  supporting  the  joint  by 
a  pin. 


RULES  FOB  MAKING 


The  wavy,  upright  lines  of  the  spider  are  made  of  four  pairs,  untwisted  in 
the  spider-body  itself,  though  each  pair  is  twisted  once  between  intersections  in 
the  open  part  of  the  pattern.  All  the  joints  are  linen-stitched.  The  two  pairs 
coming  from  the  upper  left  cloth-stitch  in  consecutive  order  through  those  coming 
from  the  right,  and  a  pin  is  placed  to  support  the  upper  apex  of  the  spider. 
Then  the  horizontal  pairs  weave  through  the  body,  and  the  spider  is  closed  by 
repeating  in  the  reverse  direction  the  process  just  outlined  for  beginning  it. 
The  base  of  each  spider  is  supported  by  a  pin,  and  the  horizontal  pairs  are 
also  supported  by  pins  where  they  cross  in  the  center  of  the  spider.  Through 
the  body  proper  run  four  horizontal  bands  or  pairs.  These  are  twisted  once 
between  spiders  and  once  in  the  open  center  of  the  spider,  forming  a  river  or 


172 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


•p 


LINE  E,  COL.  14— Continued 

Italian  Spiders  with  4  Twisted,  Horizontal  Bars. 

open  eye.  They  are  not,  however,  twisted  as  they  weave  through  the  upright, 
wavy  pairs. 

The  open  part  of  the  pattern  between  upper  and  lower  rows  of  spiders  is 
formed  by  each  of  the  lower  right-hand  legs  of  an  upper  left-hand  spider  being 
twisted  once  and  linen-stitched  in  consecutive  order  through  the  lower  left-hand 
legs  of  an  upper  right-hand  spider,  which  should  also  have  been  twisted  once. 
But  one  must  not  forget  to  twist  those  legs  again  after  they  have  completed  one 
linen-stitch  and  before  they  begin  another,  so  that  each  side  of  the  little  square 
is  twisted  once.  After  this  square  is  completed,  each  leg  is  twisted  once  before 
beginning  new  spiders. 


RULES  FOB  MAKING 


173 

— □ 


LINE  E,  COL.  15, 
Marguerites  a  Six  Petales  (one  sided  joint). 


No.  1 


Each  leaf  is  made  of  four  threads ; — six  radiating  leaves  making  one  ' '  Mar- 
guerite.These  may  be  supported  by  pins  here  and  there  at  the  end  of  one 
petal  and  before  commencing  the  next  or  wherever  else  it  is  found  convenient. 

These  six-leaf  joints  are  necessarily  one-sided.  The  two  upper  petals  being 
finished,  cloth-stitch  through  each  other,  each  pair  being  used  as  a  single  thread. 
Here,  if  the  horizontal  petal  comes  from  the  left,  it  cloth-stitches  through  the 
left-hand  four  threads  which  come  from  the  right-hand  upper  petal.  Then  a 
pin  is  placed.  The  four  horizontal  threads  now  cross-stitch  again  through  the 
same  four  threads  they  intersected  before,  which  closes  the  pin.  The  horizontal 
pairs  now  form  the  left-hand  lower  leaf.  The  other  two  pairs  which  come  from 
the  right-hand  upper  leaf,  linen-stitch  through  the  remaining  two  pairs  which 
come  from  the  upper  left-hand  leaf  and  which  now  form  the  lower  right-hand 
leaf.  When  the  horizontal  leaf  comes  from  the  right-hand  side,  the  method  of 
procedure  is  exactly  reversed,  as  shown  in  this  diagram.  The  centers  of  these 
daisies  should  be  raised  by  holding  the  pairs  next  the  pin  higher  than  the  outer 
ones  and  by  pulling  these  latter  tighter  than  the  inside  ones. 


174  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

□  -    —  U 


LINE  E,  COL.  16, 
Trade  "K"  Ground  (original)  (American). 


This  ground  is  similar  to  those  illustrated  and  explained  under  Column  16, 
Line  D ;  Column  16,  Line  G ;  and  Column  16,  Line  F.  The  working  pair  cloth- 
stitches  all  the  way  through  each  band  of  fish  from  the  right  to  the  left,  then 
back,  making  four  trips  altogether.  The  workers  are  twisted  once  between 
bodies,  as  are  also  the  oblique,  passive  pairs  between  linen-stitches :  but  the 
weavers  are  not  twisted  in  passing  through  the  actual  fish.  Not  counting  the 
heads  and  tails  of  the  fish,  the  oblique  pairs  cloth-stitch  through  each  other  once 
between  fish,  forming  one  open  square  below  the  tail  of  one  fish  and  the  head 
of  another.  The  fish  are  placed  directly  below  one  another.  Where  the  diagonal 
pairs  meet  to  form  a  fish — that  is,  at  their  heads — they  linen-stitch  and  are 
twisted  once,  the  stitch  being  supported  by  a  pin.  The  same  procedure  reversed 
is  used  to  form  the  tails;  that  is,  the  pairs  are  twisted,  a  pin  is  placed  and  a 
linen-stitch  made. 


□  =  =Q 


MiLfis  for  making  m 


LINE  E,  COL.  1^ 

? 


Each  line  on  this  sample  represents  two  threads.  In  the  long  spaces,  they 
are  twisted  four  times :  in  the  short  spaces,  once.  The  joints  are  made  by  cloth- 
stitching.  A  pin  is  placed  in  the  center  of  each  joint  to  keep  the  lines  straight : 
but  is  taken  out  and  used  again  in  the  next  lower  line  as  soon  as  that  is  made, 
to  prevent  pin  gaps.   All  threads  should  be  pulled  taut. 


176 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


■n 


LINE  E,  COL.  18, 
Marguerites  a  Centre  de  Toile. 


Four  threads  are  required  for  each  leaf,  and  four  leaves  enter  each  ' '  Mar- 
guerite" or  daisy  at  the  top,  two  at  the  left  and  two  at  the  right.  After  making 
the  long,  slim,  petals,  the  eight  left-hand  threads  cloth-stitch  through  the  eight 
right-hand  threads,  forming  a  small  sqiiare  placed  on  the  diagonal.  The  four 
threads  making  their  exit  at  the  lower  right-hand  side  of  the  square  become 
the  two  lower  right-hand  leaves  of  this  particular  linen  square,  and  at  the  same 
time  the  two  upper  left-hand  leaves  of  the  square  obliquely  below.  The  remain- 
ing eight  threads  are  woven  into  two  lower  left-hand  petals,  becoming  in  turn 
the  upper  right-hand  petals  of  a  square  diagonally  below.  Pins  should  be  placed 
at  the  lower  ends  of  the  leaves  to  keep  them  from  unravelling  until  the  little 
square  dots  are  finished.  However,  when  these  pins  are  removed,  all  holes  and 
loops  must  be  carefully  pulled  out  before  new  petals  are  commenced.  A  sup- 
porting pin  should  be  placed  below  the  lower  corner  of  the  square  to  hold  it  in 
place.    None  of  these  pins  are  closed. 


□  : 


RULES  FOB  MAKING 


177 

=□ 


LINE  F,  COL.  1, 
Redina,  Maglia  di  Spagna. 


This  net  is  obtained  by  twisting  three  times  and  crossing,  placing  a  pin, 
twisting  twice  only  and  crossing  to  close.  This  mesh  is  made  diagonally,  and 
is  similar  in  effect  and  strength  to  Tulle  Double,  though  slightly  more  open. 


178  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

=—  ■  = 


LINE  F,  COL.  2, 
Les  Mille  Pattes. 


This  is  a  series  of  spiders  made  with  four  pairs  of  bobbins,  each  pair  twisted 
three  times.  The  pairs  coming  from  the  upper  left  linen-stitch  in  consecutive 
order  through  those  coming  from  the  upper  right.  A  pin  is  placed  and  closed 
by  repeating  this  process  in  the  reverse  direction:  so  that  the  upper  left-hand 
legs  of  the  spider  are  also  its  lower  left-hand  legs,  becoming  the  upper  right- 
hand  legs  of  a  new  spider  on  a  lower  line.  To  raise  the  centers  of  the  spiders 
one  should  hold  the  innermost  pairs  of  the  joint  somewhat  up  in  the  air  against 
the  center  pin,  pulling  the  outer  pairs  especially  tight  in  closing  them,  so  that 
the  inner  pairs  cannot  sink  down  into  them. 

See  Line  E,  Columns  4  and  2. 


RULES  FOB  MAKING 


179 

=□ 


LINE  F,  COL.  3, 

Tulle  Ground,  Lille,  Filoclie,  Fond  Clair,  Fond  Simple,  Point  de  Brabant, 
Trolly  Net,  Tondern,  Arras,  Marche,  Point  de  Hollande,  Dutsche  Slag. 


See  Line  E,  Column  3. 

This  ground  is  made  by  twisting  the  sides  of  the  meshes  three  times  each ; 
then  crossing  the  inner  thread  of  each  pair,  placing  a  pin  beneath  this  joint  to 
support  it,  and  again  twisting  three  times  the  pairs  formed  at  the  right  and  left. 


180 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


a 


LINE  F,  COL.  4, 
Potten  Kant,  Flemish,  Antwerp. 


This  ground  requires  four  pairs  to  each  mesh,  two  entering  at  the  left  and 
two  at  the  right,  and  two  correspondingly  leaving  at  the  lower  left  and  two 
at  the  lower  right.  The  two  upper  left-hand  ones  cloth-stitch  through  each 
other  before  entering  the  main  square  of  the  design :  but  those  at  the  right  have 
already  linen-stitched  in  finishing  the  preceding  square.  The  conductor  or 
weaver  comes  from  the  right-hand,  cloth-stitching  through  the  two  left-hand 
pairs.  A  pin  is  placed  here  at  the  left  of  the  middle  of  the  side  of  the  solid 
square.  The  weaver  should  be  twisted  once  around  the  pin  and  cloth-stitch 
back  through  the  two  pairs  that  came  from  the  left ;  but  in  addition,  through  the 
one  waiting  at  the  right.  Another  pin  is  placed  at  the  right  of  the  square 
opposite  the  first  pin.  The  conductor  is  twisted,  returns  towards  the  left  with- 
out pinning  and  finishes  the  square.  Each  square  requires  two  pins  directly 
opposite  each  other,  causing  the  weaver  to  run  a  little  uphill  in  returning  from 
the  left  toward  the  right.  The  solid  squares  follow  each  other  diagonally,  the 
workers  always  travelling  from  the  right  towards  the  left,  and  one  pair  always 
working  from  the  left  towards  the  right,  cloth-stitching  through  the  vertical 
pair  at  the  beginning  of  each  solid  square. 


RULES  FOR  MAKING 


181 

=□ 


LINE  F,  COL.  5, 
Un  Fond  Hollandais,  Filet. 


SSlSf 

yaaaaaag 

MP 

^jHHp  ^(W^^  '^B?^^  ^MIvV  ^^3Ry  ™«^Wg(aT 


■Mi 

«aaaaaw 

laaawSi' 


til 


This  filet  was  made  with  seven,  hanging  pairs  and  a  working  pair.  Each 
pair  is  twisted  twice  between  joints.  The  joints  are  made  by  cloth-stitching. 
Pins  are  placed  under  the  joints  to  keep  them  in  place;  but  an  upper  line  of 
pins  is  removed  as  soon  as  a  lower  line  is  reached  in  order  that  no  gaping  holes 
may  be  left. 


182 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  F,  COL.  6, 

Lccherschlag. 


This  plain,  but  pretty  ground,  is  procured  by  twisting  once,  crossing, 
pinning,  twisting  twice,  and  then  crossing  to  close.    It  is  made  on  the  oblique. 


RULES  FOB  MAKING  183 

=□ 


LINE  F,  COL.  7, 

Valenciennes  Mixte. 


The  making  of  this  ground  is  similar  to  that  of  the  square-meshed  "Vals": 
see  Line  A,  Column  7.  After  the  braided  sides  have  been  made,  one  should 
weave  the  linen-stitch  as  in  the  square-meshed  "Val,"  not  twisting  these  two 
pairs  before  cloth-stitching;  but  twisting  them  both  once  after  the  linen-stitch 
is  made,  before  beginning  the  new  braid.  The  outside,  or  pendent  pairs,  are 
twisted  once  as  in  the  square-meshed  Valenciennes. 


□  : 


184 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  F,  COL.  8, 
Devonshire  Swing  Filling,  Spot  Stitch,  and  no  Pin. 


As  A.  Penderel  Moody  says,  "Either  name  refers  to  the  working  of  the 
stitch,  no  pins  are  necessary,  and  the  same  worker  is  swung  from  each  outwork 
to  the  one  below."  Although  Moody's  book  on  "Devon  Pillow  Lace"  suggests 
making  this  stitch  from  the  right  to  the  left,  it  seems  perfectly  easy  to  follow 
the  general  rule  of  making  it  from  the  left  to  the  right,  except,  perhaps,  in  some 
peculiarly  formed  space.  The  weaver  would  then  always  come  between  the 
lower  right  of  an  upper  cutwork  and  the  upper  left  of  a  lower  cutwork.  In 
working  from  the  left,  the  two  left-hand  or  skeleton  threads  of  a  cutwork  are 
secured  with  the  following  stitch  below  or  to  the  left  of  it  in  order  to  give  a 
firm  foundation  against  which  to  pull,  for  one  cannot  pull  the  weaver  of  a 
working  pair  without  misshaping  the  cutwork.  This  is,  perhaps,  what  Penderel 
Moody  means  by  working  from  the  right  to  the  left,  as  the  work  would  progress 
in  a  diagonal  line  slanting  that  way.  The  weaver  itself  should  always  be  left 
long  to  distinguish  it,  and  the  same  one  should  be  used  in  each  successive  cut- 
work  to  avoid  ever  pulling  it  unduly.  The  pairs  should  be  twisted  three  times 
between  points  d'esprit. 


RULES  FOR  MAKING 


185 


LINE  F,  COL.  9, 
A  Lille  Jour. 


This  is  made  on  the  basis  of  Point  du  Mariage,  but  each  second  motif 
alternates  and  is  cloth-stitched.  The  pricking  is  on  the  diagonal.  At  the  bottom 
of  the  Point  du  Mariage  motif  where  the  solid  part  begins,  the  two  center 
pairs  linen-stitch;  a  pin  is  placed,  the  pairs  are  twisted  twice  and  the  pin  is 
closed.  The  weaver  then  works  towards  the  right,  working  through  the  right- 
hand  mariage  pair,  which  should  first  be  twisted  twice;  here  the  pairs  again 
cloth-stitch;  another  pin  is  placed;  the  pairs  around  it  are  twisted  twice  and 
weave  towards  the  left.   Here  at  the  left,  the  pair  hanging  from  out  the  mariage 


P: 


186  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□  =  —  =c 

LINE  F,  COL.  9— Continued 
A  Lille  Jour. 

motif,  must  also  be  twisted  twice.  At  the  center  left  and  right  of  the  solid 
motif,  the  weaver  cloth-stitches  through  the  manage  motif  at  its  side ;  pins  are 
placed  and  closed.  The  worker  here  in  the  space  between  the  two  motifs,  is 
twisted  only  once,  in  order  that  the  solid  part  may  not  be  pushed  back,  but 
remain  as  wide  as  possible.  At  the  bottom  of  the  solid  motif,  the  two  center 
pairs  cloth-stitch ;  a  pin  is  placed :  but  here  one  recommences  the  manage  stitch. 

Point  du  Mariage  or  Tulle  Double  is  described  under  Line  C,  Column  4.  At 
the  sides  where  the  mariage  motif  meets  the  weaver  of  the  solid  spot,  the  mariage 
pair  should  be  twisted  twice  before  and  twice  after  the  intersection. 


□  : 


RULES  FOR  MAKING 


187 


□    =□ 


LINE  F,  COL.  10, 
Devonshire  Toad-in-the-Hole. 


The  little  cutwork  toad  is  guarded  by  four  cloth-stitch  walls;  each  wall 
requires  four  pairs,  and  each  cutwork  two.  This  pricking  is  made  on  the 
diagonal.  Each  cutwork  pair  is  twisted  three  times;  then  the  cutwork  is  made 
and  the  weaver  and  its  mate  are  looped  together  once  to  avoid  unnecessary 
pullings.  The  weaver  should  be  left  longer  than  all  the  other  threads,  that  it  may 
always  be  distinguished  and  not  inadvertently  pulled.  In  all  cutwork  fillings, 
one  should  work  from  the  left  to  the  right ;  then  starting  again  at  the  left,  sb  as 
to  secure  the  two  left  scaffold  or  foundation  threads  of  the  cutwork  with  the  next 
stitch  before  weaving  the  point  d 'esprit  worker  into  its  succeeding  stitch.  After 
the  cutwork  and  the  looping  are  finished,  a  supporting  pin  is  placed  below  the 
leadwork  and  both  cutwork  threads  are  again  twisted  three  times.  These  lead- 
works  should  come  exactly  in  the  middle  of  each  square.   The  cutwork  pairs  are 


□: 


188 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  F,  COL.  10— Continued 

Devonshire  Toad-in-the-Hole. 

now  ready  to  cloth-stitch  downwards,  each  couple  on  its  respective  side  through 
the  four  threads  on  each  side  that  are  going  to  make  the  wall  directly  below. 
This  done,  the  cutwork  pairs  are  again  twisted  three  times  and  are  ready  to 
make  new  points  d 'esprit,  the  same  weaving  threads  being  used  throughout 
from  upper  row  to  lower  row  as  workers. 

Before  starting  a  wall  one  must  cloth-stitch  the  two  upper  left-hand  pairs 
and  the  two  upper  right-hand  pairs;  when  the  right-hand  inside  couple  becomes 
the  weaver,  working  through  the  remaining  pairs  at  the  left,  so  that  the  first 
pin  is  placed  at  the  upper  left.  At  the  edge  of  the  wall,  the  workers  are  twisted 
three  times  around  the  winkie  pin  and  woven  back  into  the  wall.  When  the  last 
of  these  wall  holes  has  been  reached,  the  bobbins  are  again  divided  into  two 
sets;  the  two  wall  pairs  at  the  lower  right,  after  having  been  intersected  by  the 
weaver,  cloth-stitch  through  each  other  and  pass  towards  the  right ;  the  weaver 
and  the  remaining  left-hand  pair  linen-stitch  together  towards  the  left.  These 
two  sets  are  now  ready  to  intersect  the  descending,  diagonal,  cutwork  pairs. 
When  the  wall  sets  thus  divide,  they  run  horizontally. 


□  : 


RULES  FOR  MAKING 


189 


LINE  F,  COL.  11, 
Trude  "F"  Ground  (original)  (American). 


Each,  shield  in  this  design  is  made  of  four  threads;  two  coming  from  the 
left  and  two  from  the  right.  The  pins  are  placed  directly  below  each  other 
and  the  pricking  is  on  the  square ;  that  is,  vertical  and  horizontal.  The  pins  are 
placed  above  the  joint  to  hold  it  down.  The  sides  are  braided  four  times  and 
the  tops  and  bottoms  are  twisted  twice,  crossed  and  twisted  twice.  This  mesh 
loses  its  shape  in  washing. 


190 


A  LACE  GUIDE  FOE  MAKERS  AND  COLLECTORS 


■D 


LINE  F,  COL.  12, 
A  Fancy  Zeccatello. 


Each  linen-stitch  spot  is  made  up  of  eight  threads,  and  each  complete  motif 
requires  four  linen-stitch  spots  with  an  open,  twisted  cross  between.  All  joints 
are  made  by  cloth-stitching.  A  weaver  and  a  pendant  pair  enter  at  the  top  of 
the  linen,  left-hand,  upper  square.  Here  a  pin  is  placed  and  closed.  Then  one 
weaves  towards  the  left  corner  of  the  square,  places  a  pin  and  closes  it.  Then 
to  the  right-hand  lower  corner  of  the  same  square,  where  another  pin  is  placed 
and  closed,  then  to  the  bottom,  where  a  pin  is  placed  and  closed,  the  threads  then 
entering  the  square  directly  below.  The  upper,  right-hand,  linen  square  of  the 
motif  is  made  in  the  same  way,  but  reversed;  that  is,  a  pin  is  placed  first  at 
the  top,  then  at  the  right-hand  corner,  then  at  the  left,  then  at  the  bottom. 
The  other  two  pairs,  which  enter  at  the  tops  of  these  two  linen  spots,  after 
cloth-stitching  through  their  centers,  emerge  below,  coming  towards  each  other, 


□  : 


RULES  FOB  MAKING  191 

□=  □ 

LINE  F,  COL.  12— Continued 

A  Fancy  Zeccatello. 

ready  to  intersect  and  form  the  open  cross  in  the  center  of  the  motif.  Each 
pair  is  twisted  once,  cloth-stitched,  twisted  again,  cloth-stitched  through  the 
second,  opposite  pair  and  again  twisted  once.  In  finishing  the  two  lower  blocks, 
one  is  really  starting  new  ones  below  to  the  right  and  left;  the  right-hand  lower 
square  becoming  the  left-hand  upper  square  of  a  succeeding  motif.  The  grill- 
like, twisted,  center  threads  are  now  cloth-stitched  into  the  lower  blocks  to  form 
their  bodies.  It  should  be  remarked  that  these  squares  are  not  exactly  opposite : 
—the  uppermost  pair  in  leaving  a  higher  square,  crosses  through  the  grilled 
center  and  enters  the  middle  of  the  lower  square  to  the  other  side :  the  pair  coming 
from  the  middle  of  the  upper  block  crosses  and  enters  at  the  lower  part  of  the 
side  of  the  square  below. 


-□ 


These  plaits  are  braided  in  the  usual  manner,  and  the  linen-stitch  joints 
are  made  as  in  Lines  D  and  E,  Column  13. 

The  right-hand  pair  is  here  used  to  make  the  picot.  It  is  twisted  three 
times  and  followed  by  an  ordinary  picot  as  explained  under  Line  E,  Column  13. 
To  complete  it,  one  crosses  the  two  threads  of  the  pair,  takes  the  exterior  thread 
alone  and  places  it  in  the  reverse  direction  over  and  around  the  pin.  One  then 
twists  the  pair  three  times,  and  having  twisted  the  waiting,  unused  pair  of  the 
braid,  recommences  plaiting. 


BULES  FOB  MAKING 


193 


LINE  F,  COL.  14, 
Italian  Open-eyed,  Cable-like  Spiders. 


Eight  threads  enter  at  each  side  of  the  top  of  every  spider,  cloth-stitching  in 
consecutive  order  through  each  other.  Each  spider  is  closed  in  the  same  way, 
but  reversed,  at  its  base.  At  the  upper  left  of  the  spider  inside  the  innermost 
pair,  a  pin  is  placed  and  then  this  pair  linen-stitches  through  its  mates  towards 
the  left.  Once  outside  the  spider,  this  pair  is  twisted  once.  Here  it  meets  a 
corresponding  pair — also  twisted  once — coming  in  the  opposite  direction  from 
the  spider  next  to  the  left.  These  two  now  cloth-stitch  and  the  joint  is  sup- 
ported by  a  pin,  each  pair  being  twisted  once  after  the  joint.  These  pairs  there- 
fore exchange,  each  one  working  towards  the  opposite  spider,  linen-stitching 
through  it  till  it  reaches  the  inside,  where  in  the  same  way  that  a  Bohemian  edge 
is  made,  the  newly-entered  pair  becomes  the  inside  spider  pair  and  the  former 
inside  spider  pair  exits  around  a  pin  by  linen-stitching  outwards  through  the 
other  pairs  and  doing  as  was  done  before,  just  above.  In  all,  there  are  three 
such  exchanges  on  each  side  of  every  spider,  so  that  three  pins  are  placed  be- 
tween spiders  and  three  pins  on  the  inside  of  each  side  of  every  spider. 


194  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□  □ 


LINE  F,  COL.  15, 
Demi-Marguerites. 


These  half-daisies  alternate  with  braids  that  are  ornamented  with  a  picot 
*  on  each  side  of  the  middle  of  their  long  sides.  The  centers  of  the  marguerites 
should  stand  up  as  has  been  described  elsewhere  under  Line  F,  Column  2.  Pins 
are  placed  at  the  beginning  or  end,  as  it  may  be,  of  each  petal,  at  the  point 
where  it  joins  a  braid.  The  horizontal  leaves  have  to  be  added  at  either  the 
left  or  the  right,  according  to  which  marguerite  is  ready  first  or  according  to 
one's  preference  of  direction  in  weaving:  have  to  be  added  in  the  air;  that  is, 
cloth-stitched  through  an  incoming  braid,  using  two  threads  of  the  braid  as 
one  thread,  before  the  center  of  the  daisy  is  made,  in  order  that  the  new  pairs 
may  be  well  anchored.  The  centers  should  be  made  in  this  case  the  same  as  in 
an  eight-leaved  daisy.   See  Line  G,  Column  15. 


□  : 


:□ 


RULES  FOB  MAKING  195 

□  =   — □ 

LINE  F,  COL.  16, 
Trude  "L"  Ground  (original)  (American). 


See  Column  16,  Line  E,  and  Column  16,  Line  G.  The  method  of  working 
is  similar  to  that  of  Trude  "K"  Ground,  but  the  bodies  of  the  fish  are  placed 
alternately  below  one  another  instead  of  directly  below  each  other  as  in  Trude 
"K"  Ground;  and  instead  of  the  diagonal  pairs  passing  through  each  other 
only  once — not  counting  their  exits  and  entrances  into  fish — they,  in  this  case, 
cloth-stitch  through  each  other  twice  between  tails  and  heads;  and  are  twisted 
once  between  stitches.  The  horizontal  workers  are  also  twisted  once  between  fish, 
but  not  while  working  through  the  bodies;  and  the  fish  pairs  themselves  are 
twisted  once  at  the  head  and  tail,  where  pins  are  placed  before  finishing  each 
body  with  a  cloth-stitch. 


196 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  F,  COL.  17, 
Dieppe  Three-Thread  Valenciennes. 


Each  braid  requires  three  threads  and  should  be  made  by  placing  the  right- 
hand  thread  over  the  center  thread ;  then  the  left  one  over  the  center  one.  This 
should  be  done  three  times  with  each  braid  between  intersections.  The  joint  is 
made  by  cloth-stitching  the  four  threads  nearest  the  center,  placing  a  pin  below 
the  linen-stitch  to  support  it  and  avoid  confusion.  Meanwhile  one  thread  should 
be  left  idly  dangling  each  side  of  the  joint.  These  idle,  side  threads  are  again 
taken  up  and  braided  after  the  joint  is  finished.  The  braiding  is  recommenced 
in  the  same  way  as  before,  by  placing  the  right  thread  over  the  center,  then  the 
left  one  over  the  center. 


RULES  FOB  MAKING  197 

Q   ===  ■  ,  .    ,  D 


LINE  F,  COL.  18. 

Tulle  Double  Donne  on  the  Square. 


This  ground  is  made  in  the  same  way  as  that  described  under  Line  D, 
Column  1,  except  that  the  pricking  is  not  on  the  diagonal,  and  the  threads  run 
vertically  and  horizontally  instead  of  obliquely:  the  horizontal  threads  being 
used  as  the  weavers,  working  from  left  to  right  on  one  line  and  from  right  to 
left  on  the  succeeding  one ;  in  other  words,  alternately. 


198  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


 •  —  — 

 _  _  -l 

LINE  G,  COL.  1, 
Tulle  de  Vienne,  Genre  Valenciennes. 

$$$$$$$$ 

ftilllSll4: 

Pins  are  used  in  this  net  only  to  sustain  the  joints,  but  are  not  closed.  The 
two  pairs,  one  from  the  left  and  one  from  the  right,  are  each  twisted  three  times ; 
then  crossed,  twisted  and  crossed  to  form  the  joint. 

D_  '  :  ■  "  — 

RULES  FOR  MAKING 


199 


LINE  G,  COL.  2, 

Round  Spiders  in  Twice-twisted  Hole  Ground,  les  Arraignees  Rondes. 


Each  of  these  spiders  requires  six  pairs  to  form  the  legs,  three  at  the  upper 
right  and  three  at  the  upper  left.  Two  more  pairs  are  needed  to  form  the  circle 
around  the  spider,  and  another  two  pairs  to  form  the  square  around  the  circle. 
The  spiders  themselves  are  made  in  the  usual  way ;  as,  for  example,  in  Line  H, 
Col.  2;  the  legs  twisted  three  times:  but  the  circle  around  the  spider  is  made, 
if  the  pairs  have  not  already  been  twisted,  by  twisting  them  twice  and  crossing, 
placing  a  pin,  and  crossing  to  close  it.  The  square  outside  of  the  circle  is  made  in 
the  same  way. 


200 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  G,  COL.  3, 
Tulle  (5  twists). 


The  principle  of  this  mesh  is  the  same  as  that  described  under  Lines  E  and 
F,  Column  3 ;  except  that  the  sides  are  twisted  five  times,  making  it  appear  less 
even  and  well-balanced  than  the  ground  of  Line  F,  Column  3. 


n 


RULES  FOB  MAKING 


201 


□= 


LINE  G,  COL.  4, 

Round,  Open-eyed,  Brabant,  Binche  Spiders,  Oeil  de  Perdrix,  Reseau  Rosace, 

Point  de  Flandre. 


Eight  pairs  are  needed  to  make  this  very  pretty,  but  somewhat  complicated 
spider.  Six  pairs  for  the  body  proper;  three  entering  at  the  upper  left,  inside 
of  the  circle ;  and  three  at  the  upper  right,  inside  of  the  circle.  At  the  top  of  the 
circle,  the  inside,  or  first  two  pairs  which  meet,  are  cloth-stitched  through  each 
other,  the  joints  supported  by  a  pin,  partly  to  avoid  confusion.  These  two  en- 
circling pairs  then  cloth-stitch  through  the  spider  legs,  being  twisted  once 
between  stitches.  At  the  bottom  of  the  spider  they  meet  again  and  once  more 
cloth-stitch  through  each  other,  the  joint  being  supported  as  before  by  a  pin. 
Each  spider  leg  is  twisted  twice.  In  order  to  make  this  body,  the  prominent  part 


n 


202 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  G,  COL.  4— Continued 

Round,  Open-eyed,  Brabant,  Binche  Spiders,  Oeil  de  Perdrix,  Reseau  Rosace, 

Point  de  Flandre. 

of  which  is  the  open  eye  at  the  center,  so  made  that  it  cannot  close,  because  the 
pairs  pull  away  from  each  other,  some  of  the  pairs  have  to  be  split  or  separated, 
one  thread  from  its  mate.  The  top,  center  or  first,  upper,  right-hand  pair 
passes  continuously  from  the  top  to  the  bottom  of  the  spider,  cloth-stitching 
through  whatever  pairs  it  meets:  but  keeping  to  the  right  of  the  pin.  The 
second,  upper,  right-hand  leg  does  likewise;  the  third,  upper,  right-hand  leg 
cloth-stitches  through  whatever  pairs  it  meets;  but  keeps  above  the  pin  and 
passes  from  the  upper,  right-hand  side  of  the  spider  to  the  lower,  left-hand  side 
of  the  spider.  The  first,  upper,  inside,  left-hand  leg  separates,  its  left-hand 
thread  lying  idle  until  there  is  another  separate  thread  to  take  for  its  mate, 
when  it  cloth-stitches  through  the  pairs  it  meets,  keeping  to  the  left  of  the  pin. 
Its  right-hand  thread  does  likewise,  but  passes  to  the  right  of  the  pin,  around  it, 
below  it,  and  back  to  its  original  mate.  The  second,  upper,  left-hand  pair 
splits  in  the  same  way.  In  fact,  its  two  threads  become  respectively  the  mates 
of  the  two  preceding  threads.  After  passing  around  and  under  the  pin,  the 
original  pairs  rejoin  each  other.  The  third,  or  lowest,  left-hand,  upper  leg  does 
not  separate ;  but  keeps  on  the  underside  of  the  pin,  passing  from  the  upper  left 
to  the  lower  right  of  the  spider.  In  this  way,  there  are  six  threads  to  the  left  of 
the  central  pin  and  six  to  the  right.  Each  spider  leg  is  twisted  twice  just 
inside  of  the  circle,  outside  of  the  spider  body,  as  noted  above.  The  pairs  outside 
of  the  circle  are  each  twisted  once  and  in  couples  cloth-stitch  through  each  other, 
making  crosses ;  are  again  twisted  once,  and  are  then  ready  to  pass  into  another 
circle.  The  top  and  bottom  center  legs  combine  with  the  wheel  or  circle:  the 
other  two  legs  crossing  each  other. 


RULES  FOB  MAKING  203 

□ 


LINE  G,  COL.  5, 
Bohemian  Ground. 


^tiHiiititiiiit;: 

'   *  A      §  f  I  f  J1  '1 Sf  4  f  S  t  5-r  - 


I** 

tilt**  -.  .  ^r-* 


This  is  a  very  simple  filet  mesh,  every  pair  being  twisted  once  between 
joints,  the  joints  being  made  by  linen-stitching,  and  the  horizontal  pair  being 
used  as  weaver,  working  from  left  to  right  on  one  line  and  from  right  to  left 
on  the  next  lower  one.  The  joints  should  be  supported  here  and  there  by  pins 
in  order  to  retain  the  alignment:  but  the  pins  should  not  be  left  in  long  or 
they  will  spread  the  threads  and  so  leave  ugly  gaps. 


204 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


--D 


LINE  G,  COL.  6, 

Reseau  Simple,  Analogue  a  Celui  de  Lille,  6" Arras,  de  Marche,  de  Tondern, 

de  Buckingham. 


Two  pairs  are  required  to  make  this  stitch  and  they  should  be  twisted 
three  times  between  joints.  In  making  the  joint,  the  left-hand  thread  of  the 
right-hand  pair  passes  under  the  right-hand  thread  of  the  left-hand  pair,  com- 
ing out  above  it  and  falling  forward  and  downward,  now  forming  a  new  left- 
hand  pair.  The  other  joint-thread  passes  forward  and  downward  towards  the 
right,  forming  a  new  right-hand  pair.  A  pin  should  be  placed  below  this  knot 
to  sustain  it.  This  is  an  exceptional  stitch  in  bobbin  lace  making,  as  the  passing 
of  the  bobbin  through  the  loop  really  forms  a  loose  knot. 


RULES  FOR  MAKING 


205 


LINE  G,  COL.  7, 

Round-meshed  Valenciennes  (singly  twisted  joint,  centuple  braid) 

(Bruges  has  triple  braid). 


See  Line  A,  Column  7  and  Line  F.  Column  7.  The  sides  of  the  meshes  in 
round  Valenciennes  are  made  in  the  same  way  as  those  of  square  or  mixed 
Valenciennes,  but  the  joints  are  more  open  and  weaker.  The  sides  of  this 
particular  ground  are  braided  five  times.  The  joint  is  made  by  twisting  each 
of  the  two  inner  pairs  once  after  finishing  the  braid  and  before  cloth-stitching, 
and  twisting  once  the  pair  coming  towards  the  left  after  linen-stitching :  but  not 
the  pair  going  towards  the  right,  before  beginning  the  new  plait  below.  The 
outside  hanging  pairs  should  be  twisted  once  between  braids. 


206 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  G,  COL.  3, 
Devonshire  Cutwork  Net. 


M   •  IV 


•  jm  •  in 


•  in  •  m 
V • V • ' 
- "  Mr  /ill' 


r  "  ill  ^  *  V 
Ml'  •   III    -  III' 


This  net  is  much  more  regular  in  appearance  than  Point  d  'Esprit  Net, 
It  should  be  worked  from  the  left  towards  the  right  in  order  that  the  left-hand 
or  foundation  pair  of  the  cutworks  may  be  pulled  into  shape  and  secured  with 
adjoining  stitches;  as  the  weaver  of  the  right-hand  pair  cannot  be  pulled,  but 
must  be  left  especially  long  so  that  it  can  always  be  recognized.  Any  dragging 
on  the  part  of  the  weaver  would  spoil  the  shape  of  the  point  d 'esprit.  When  the 
cutwork  has  reached  the  desired  size,  the  weaver  is  passed  through  a  loop  made 
by  its  mate ;  and  pulled  gently  into  shape,  a  pin  being  placed  under  the  leadwork 
to  support  it.  The  cutwork  pairs  are  now  twisted  twice  and  the  weaver  can  be 
placed  carefully  aside,  temporarily  out  of  the  way.  The  cutwork  pairs  are  now 
ready  to  cloth-stitch  through  the  plain  net  pairs  on  each  side  of  them.  These 
:plain  net  pairs  are  twisted  three  times  between  joints  and  linen-stitched 
through  each  other  wherever  they  meet,  which  is  directly  above  and  below  the 
cutwork  and  to  the  left  and  right  of  it.  After  passing  through  the  square  net, 
the  cutwork  pairs  are  twisted  twice  before  a  new  leadwork  is  commenced. 


=q 


RULES  FOB  MAKING  207 

□ 


LINE  G,  COL.  9, 
Devonshire  Wire  Ground. 


1  air 


The  pairs  in  this  case  are  always  twisted  four  times  between  joints;  the 
joints  are  made  by  cloth-stitching  and  are  supported  by  pins ;  but  the  pins  are 
not  closed. 


Eight  threads  are  required  for  each  wall.  The  weaver  starts  at  the  upper 
right,  cloth-stitching  to  the  upper  left,  and  is  twisted  three  times  around  the 
winkie  pin.  There  are  three  pin  holes  to  each  side  of  the  wall.  At  the  bottom 
of  the  wall,  after  the  lowest  right-hand  pin  has  been  placed,  the  weaver  cloth- 
stitches  again  to  the  left  and  with  the  left-hand  hanging  pair,  passes  over  into  the 
top  of  the  left-hand,  lower  wall,  cloth-stitching  once  en  route  through  the  pair  it 
picked  up.  The  two,  right-hand  pairs  coming  out  of  the  upper  wall  at  its  base 
now  cloth-stitch  through  each  other  and  pass  into  a  lower  wall  at  the  right. 
The  weaver  for  this  lower  wall  is  the  weaver  that  came  from  the  wall  above  it, 
to  its  right. 


:□ 


RULES  FOB  MAKING  209 

l  — □ 


LINE  G,  COL.  11, 

Round-meshed  Valenciennes  of  Harlebeke,  Bruges,  Courtrai,  Bailleul 
(braided  4  times)  (often  twice,  Den  telle  episcopate) . 


The  sides  of  this  Valenciennes  each  require  four  threads  and  are  braided 
four  times.  When  the  sides  are  braided  only  twice,  the  lace  is  called  Dentelle 
episcopale. 

The  joints  are  quite  open,  giving  the  effect  of  a  round  Val  with  two  little  open 
dots  between  the  larger  holes.  The  vertical,  pendant  pairs  which  hang  outside 
of  the  joint,  are  each  twisted  twice  between  upper  and  lower  braids,  and  the 
interior  pairs  of  the  braids  which  cross  each  other  by  means  of  a  linen-stitch 
between  braids,  are  each  twisted  twice  both  before  and  after  the  cloth-stitch.. 

See  Line  A,  Column  7. 


210 

□= 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  G,  COL.  12, 
Zeccatello. 


Three  pairs  twisted  twice,  enter  each  solid  spot  at  the  upper  left ;  and  three 
pairs  twisted  twice,  at  the  upper  right.  The  two  central  pairs  of  each  of  these 
sets,  intersect  with  a  linen-stitch,  and  after  a  pin  is  placed  at  the  top  of  the  little, 
linen-stitch  square,  are  closed.  A  similar  stitch  is  made  at  the  bottom  of  the  little 
square.  No  pins  are  used  elsewhere. 


RULES  FOB  MAKING 


211 

— □ 


LINE  G,  COL.  13, 
Irish  Ground. 


The  braids  are  made  in  a  horizontal  zigzag,  the  downward  points  held  down 
by  pins  until  a  lower  line  joins  and  holds  them.  The  braids  should  not  be  made 
too  long.  When  one  reaches  the  second  line  or  lower  row,  one  should  pull  one 
pair  of  the  second  line  bobbins  by  means  of  a  crochet-hook  under  and  around 
the  downward  point  of  a  preceding  line ;  passing  the  other  pair  of  the  second  or 
lower  line  into  the  loop  of  the  two  hooked-up  threads,  pulling  the  knot  thus  made 
well  on  top  of  the  joint  into  plain  sight.   One  is  then  ready  to  braid  again. 

This  ground  is  supposed  to  look  slightly  rough  and  clumsy,  giving  to  the 
mesh  a  rustic  appearance. 


212  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  G,  COL.  14, 

Italian  Spiders  with  2  Horizontal  Bars. 


This  easy  ground  requires  a  horizontal  weaving  pair  and  two  pairs  for  each 
spider.  The  upper  left-hand  spider  pair  cloth-stitches  through  the  upper  right- 
hand  spider  pair,  the  joint  being  supported  by  a  pin.  Then  the  working  pair 
runs  from  left  to  right,  cloth-stitching  through  the  two  spider  pairs,  being 
twisted  twice  between  spiders,  and  immediately  returns  from  right  to  left 
through  the  same  spiders  in  the  same  way.  Each  spider  pair  is  twisted  once 
between  spider  bodies.  The  spiders  are  terminated  in  the  same  way  that  they 
are  begun,  only  by  the  reverse  process. 


□= 


This  firm,  attractive  ground  is  easy  to  execute — provided  one  enjoys  the 
making  of  leaves.  Each  pair  can  be  considered  as  one  thread  or  each  thread 
can  be  worked  individually.  The  two  left-hand  petals  cloth-stitch  consecutively 
through  the  top  and  upper  right-hand  petals.  Here  a  pin  is  placed  and  closed, 
the  center  being  arched  in  the  way  described  under  Line  E,  Column  4.  Should 
one  prefer,  one  can  work  from  right  to  left  instead  of  from  left  to  right :  the  idea 
in  either  case  being  to  linen-stitch  the  two,  upper  petals  through  two,  other, 
upper  petals.  Where  the  horizontal  petals  meet  each  other,  a  pin  should 
temporarily  be  placed,  but  removed  before  the  second  petal  is  entirely  woven  in 
order  that  the  threads  may  slip  up  and  fill  the  hole  left  by  the  pin.  Between 
daisies,  where  the  petals  form  a  cross,  they  linen-stitch  through  each  other  and 
the  joint  is  supported  by  a  pin. 


□  : 


:□ 


214  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□  =  =   .       ■  P 


LINE  G,  COL.  16, 
Fish  with  2  Horizontal  Bars. 


The  weaver  or  horizontal  bar  passes  twice  through  each  so-called  fish.  The 
weavers  and  all  other  threads  are  twisted  twice  between  fish  and  between  other 
stitches,  but  the  body  of  the  fish  is  not  twisted  after  the  two  pairs  which  form  it, 
have  cloth-stitched  together  at  the  top,  nor  until  after  they  have  cloth-stitched 
together  at  the  tail.  The  fish  are  placed  alternately  below  one  another.  Between 
bands  of  fish — that  is,  below  one  band  and  above  the  next — the  passive  or  oblique 
pairs  cloth-stitch  through  each  other  twice,  not  counting  the  exit  and  entrance 
into  the  fish  bodies.  Any  pins  used  as  supports,  should  soon  be  removed  to  avoid 
leaving  unsightly  gaps  behind. 


□-  ,  ,  =□ 


RULES  FOB  MAKING  J  215 

□ 


This  mesh  is  strong,  but  rather  confusing  to  make.  The  under  or  lower 
ground  runs  vertically  and  horizontally,  each  band  having  four  pairs,  twisted 
four  times  between  the  line-stitch  squares.  No  pins  are  used  in  this  part  of  the 
work  except  to  hold  up  the  weaver,  which  working  back  and  forth  from  one  side 
of  the  lace  to  the  other,  forms  the  horizontal  lines. 

The  superimposed  design  runs  diagonally,  two  pairs  twisted  four  times 
between  intersections,  weaving  through  each  other  by  means  of  a  cloth-stitch, 
made  just  over  or  above  the  twisted  parts  of  the  under-ground. 

To  connect  the  two  grounds,  one  should  lay  one  thread  of  the  diagonal  over- 
mesh  between  two  threads  of  the  under-mesh,  following  the  direction  in  which 
both  are  travelling,  taking  care  to  keep  the  diagonal  threads  on  top.   One  ought 


□= 


216  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□  1  = 


always  to  connect  the  first,  two  appropriate  pairs  which  meet,  so,  when  travelling 


from  right  to  left: —  /  ?  so,  when  travelling  from  left  to 

3T 


When  working  over 

right :- 

the  horizontal  bars, 

v 

HI  IV 

the  top  or  next  to  the  top  horizontal  weaver  is  twisted  once  before  it  connects 

with  a  diagonal  super-band,  then  it  is  twisted  three  times.  The  diagonal  strand 
is  twisted  three  times  before  and  once  after  its  connection  when  it  meets  the  top 

or  next  to  the  top  weaver-band  of  the  under-mesh,  here  for  example : —   - 

Then  one  cloth-stitches  this  diagonal  pair  with  its  mate,  placing  a  pin  below  the 
cross- joint  in  the  center  of  the  linen-stitch  to  support  the  joint.  This  pin  should 
be  removed  before  much  work  has  been  done,  so  as  not  to  leave  a  hole  behind  it. 

When  the  horizontal  weaver  returns  to  this  spot  on  the  next  lower  line  ~  * 

Vfl 

the  first  diagonal  pair  it  meets  should  have  one  thread  passed  through  it  to 


or,  thus:— 


steady  the  structure,  thus : —  1^/1  J\.    or,  thus : —    ^  y     according  to  the 

VIII  I* 

direction  in  which  the  weaver  is  travelling.    This  prevents  the  super-structure 

from  slipping  up  or  down.   Over  the  vertical  twists,     j  J  |  J     the  diagonals  are 

X 

similarly  attached  to  prevent  their  slipping  sideways,  thus : —    J/1  1  or 


XI 

thus: —        l#N      These  black  dots  indicate  connections,  or  slipped-in  threads, 
XI/ 

not  pin  holes.    The  pins  used  are  placed  at  the  center  of  the  diagonal  joints 


thus : — 

X1U  x/v 


RULES  FOB  MAKING  217 

□,  □ 


LINE  G,  COL.  18, 
Trude  "T"  Ground  (original)  (American). 


This  sample  requires  ten  pairs,  four  for  each  outwork,  and  a  weaver.  The 
cutwork  should  be  separated  by  a  horizontal  weaver  bar  running  from  left  to 
right  and  vice  versa,  fastened  at  each  end  to  afford  a  little  firmness.  The  same 
design  worked  with  several  vertical  bars  is  less  satisfactory  on  account  of  less 
stability  while  working,  besides  its  requiring  more  threads. 

Each  pair  is  twisted  three  times  between  encounters  or  intersections.  Pins 
should  be  temporarily  placed  below  the  cutwork  weaver,  and  between  the  other 
cutwork  threads  while  pulling  these  gently  into  position.  The  left-hand  cut- 
work  pair  should  be  adjusted  first,  and  the  weaving  pair  knotted  once  before 


218 


□r 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


■■n 


LINE  G,  COL.  18— Continued 

Trade  "T"  Ground  (original)  (American). 

twisting  it  three  times.  The  weaving  pair  should  be  kept  on  the  right  hand, 
and  the  weaver  itself  longer  than  its  mate.  This  same  weaver  must  be  used  as 
the  conductor  on  the  cutworks  below,  so  as  never  to  use  it  as  a  side  thread  and 
thereby  pull  it  too  hard.  After  the  three  other  threads  are  pulled  out  smooth, 
the  weaver  is  pulled,  and  if  necessary  its  knot  is  slightly  lifted  up  into  place 
close  under  the  cutwork  or  point  d 'esprit  with  the  help  of  a  long  sharp  pin,  the 
weaver's  mate  being  firmly  held  meanwhile.  The  pins  should  be  left  in  place 
until  ready  to  start  a  new  cutwork.  Then  the  two  right  above  the  point  d 'esprit 
should  be  removed  to  prevent  leaving  loops  behind.  Other  pins  that  are  in  one 's 
way,  may  be  pushed  down,  but  not  quite  all  the  way  in,  that  they  may  be  easier  to 
grasp  and  later  remove  by  means  of  fine  embroidery  tweezers. 


RULES  FOR  MAKING 


219 

=□ 


LINE  H,  COL.  1, 

Twice-twisted  Hole  Ground,  Dieppe  Ground,  Hole  Stitch  with  Twice-twisted 
Thread,  Locherschlag  mit  Zweimal  gedrehten  Faden, 


This  Twice-twisted  Dieppe  Ground  is  slightly  easier  than  the  regular, 
French  Tulle  de  Dieppe,  as  it  is  twisted  twice  instead  of  three  times  between 
joints.  The  joint  itself  is  made  in  the  same  way;  that  is,  by  crossing,  twisting 
and  crossing,  placing  a  pin  and  closing  it  by  crossing,  twisting  and  crossing. 


□= 


220  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□  ■■  ■  -   □ 


LINE  H,  COL.  2, 
Les  Arraignees  Carees  en  Tulle  Double. 


Each  spider  requires  six  pairs,  three  entering'  at  the  upper  left  and  three 
at  the  upper  right;  these  pairs  or  legs  are  each  twisted  three  times,  above  and 
below  the  spiders.  The  spider  bodies  are  made  in  the  usual  way.  That  is,  the 
three  upper,  left-hand  legs  cloth-stitch  through  the  three  upper,  right-hand 
legs.  A  pin  is  placed  in  the  center ;  the  inside  pairs  are  held  high  in  the  hand 
and  the  outside  pairs  are  pulled  specially  tight  in  closing  this  spider,  so  as  to 
make  a  little  prominence  at  the  center  of  the  body,  and  the  pairs  on  the  left  are 
cloth-stitched  through  those  on  the  right  to  close  the  pin.  The  little  row  of  open 
squares  between  spiders  is  made  at  the  points  of  encounter  between  three  right- 
hand  legs  of  an  upper  spider,  coming  down  to  meet  three,  upper,  left-hand  legs 
of  a  lower  spider;  and  at  the  center,  top,  bottom,  left  and  right  of  the  square, 
which  frames  the  spider.  At  these  points,  the  pairs  which  meet,  if  not  already 
twisted,  are  twisted  twice  and  crossed.  Here  a  pin  is  placed  and  closed  by 
twisting  twice  and  closing.   This  is  Tulle  Double. 


RULES  FOR  MAKING  221 

□        1  ■■■  ■   •  —  ~  □ 


LINE  H,  COL.  3, 
Fond  de  Brides. 


The  scrolls  and  figures  of  bobbin  lace  were  at  first  made  to  touch  or  overlap 
in  order  to  hold  together.  Later  they  were  held  in  place  by  twisted,  braided  or 
f ancily  worked  cross-bars  of  thread,  known  as  ' '  brides. ' '  The  throwing  across  or 
arrangement  of  these  "bridges"  became  more  and  more  regular  as  lace-making 
advanced,  until  they  suggested  network  and  led  to  the  making  of  established  and 
recognized  grounds. 

There  is  no  real  rule  for  the  making  of  Fond  de  Brides,  except  that  it  should 
be  so  twisted,  braided,  or  otherwise  entwined  as  to  form  a  more  or  less  equal 
and  evenly  spread  out  amount  of  open  and  solid,  of  light  and  dark,  of  evenly 
arranged,  equally  large  pseudo  meshes. 


□: 


:□ 


222 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


□ 


LINE  H,  COL.  4, 
Eyeless  Spiders,  Fond  de  Neige. 


These  eyeless  spiders  ;  that  is,  spider  bodies  without  pin  or  other  holes  in 
the  centers,  are  made  with  six  pairs  to  each  spider.  The  pairs  or  legs,  entering 
at  the  upper  left  and  upper  right  and  leaving  at  the  lower  left  and  lower  right, 
are  twisted  twice  each  between  spiders ;  also  the  two  legs  entering  at  the  top  and 
leaving  at  the  bottom.  But  these  last,  vertical  pairs  cloth-stitch  through  each 
other  at  the  top  of  the  spider  having  a  pin  placed  above ;  and  then  spread  out, 
cloth-stitching  through  the  legs  entering  at  the  upper  and  lower  left  and  upper 
and  lower  right,  so  as  to  form  a  circlet  or  wheel  around  the  body  of  the  spider, 
thereby  squeezing  the  center  of  the  body  more  compactly  together.  At  the 
bottom  of  the  spider,  these  encircling  pairs  cloth-stitch  again  through  each 


RULES  FOR  MAKING 


223 
=□ 


LINE  H,  COL.  4— Continued 

Eyeless  Spiders,  Fond  de  Neige. 

other,  have  a  pin  placed  below  the  joint  and  are  twisted  twice.  They  are  then 
ready  to  cloth-stitch  again  and  enter  the  top  of  a  lower  spider.  Inside  of  this 
wheel,  the  two,  upper,  left-hand  legs  cloth-stitch  obliquely  through  the  two, 
upper,  right-hand  legs  and  become  the  two  lower,  right-hand  legs  and  are  twisted 
twice  and  are  ready  to  enter  a  spider  below  at  the  right.  The  upper,  right-hand 
legs  become  the  two,  lower,  left-hand  legs,  are  then  ready  to  enter  another  spider 
below  to  the  left.  No  pin  is  placed  in  the  centers  of  these  spiders. 


224 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


LINE  H,  COL.  5, 
Genoese,  or  Reticella  Mode. 


HSBte* 


■»•»•».». 

*i«iiifin*i  iffii'iitisiiiir? 


*«*»<**«»<*i*»tititiiiw 


This  ground  somewhat  resembles  Buratto,  a  textile  ground  usually  woven  on 
a  loom  and  embroidered  similarly  to  the  usual  filet.  The  mode  here  described  has 
a  horizontal  weaver,  twisted  once  between  pairs,  which  works  from  left  to  right 
and  then  back,  et  cetera;  cloth-stitching  through  untwisted,  vertical  pairs. 
These  joints  should  be  supported  by  pins  in  order  to  preserve  a  true  alignment. 


RULES  FOB  MAKING  225 

 □ 


LINE  H,  COL.  6, 
Lock  Stitch  or  Du  Puy  Point  de  Paris  Variation,  Torchon  Mode. 


See  Line  C,  Column  5  and  Line  A,  Column  5.  Four  pairs  are  required  for 
each  stitch,  two  of  them  hang  vertically,  the  other  two  work  back  and  forth 
obliquely.  Every  pair  is  twisted  once  between  stitches.  At  the  point  where  the 
two  verticals  meet  each  other,  a  cloth-stitch  should  be  made,  and  a  pin  placed 
and  closed  by  another  cloth-stitch.  Where  the  diagonal  pairs  traverse  the 
vertical  ones,  a  linen-stitch  should  be  made  without  pin  or  closure. 


226 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


□  1  □ 


LINE  H,  COL.  7, 
Round  Valenciennes  (doubly  twisted  joint,  triple  braid). 


See  Line  G,  Col.  7.  The  sides  of  these  meshes  are  plaited  three  times :  the 
inner  joint  pairs  are  twisted  twice  before  and  twice  after  the  linen-stitch:  the 
idle,  outside  pairs  are  also  twisted  twice  between  tresses.  It  may  be  interesting 
to  compare  this  ground  with  that  under  Line  B,  Column  5. 


RULES  FOR  MAKING 


227 


LINE  H,  COL.  8, 
Devonshire  Point  d'Esprit  Net. 


This  higgledy-piggledy  net  requires  very  little  explanation  for  the  making 
and  must  be  left  partly  to  the  eye  of  the  maker  regarding  the  distribution  of 
the  spots.  One  suggestion  is  to  work  the  first  row  alternately  with  net  stitch 
and  spot ;  the  next  row  all  net,  and  the  third  again  alternated,  placing  the  lower 
cutworks  a  little  to  one  side  of  those  above  them.  The  net  is  made  by  twisting 
three  times  and  crossing.  Pins  should  be  used  to  support  these  crosses.  When 
the  maker  wishes  to  form  a  cutwork,  instead  of  an  open,  net  mesh,  the  pairs 
should  be  twisted  twice  before  beginning  the  spot.  Otherwise  there  will  be  an 
ugly  gap  at  the  top  of  the  leadwork,  showing  an  isolated,  bridging  thread.  At 
the  end  of  the  cutwork  it  is  imperative  to  loop  the  weaver  and  its  mate  before 
proceeding. 

A  simple  designing  method  called  Spot  Repeat  presents  an  easy  way  of 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  H,  COL.  8— Continued 
Devonshire  Point  d'Esprit  Net. 


distributing  the  cutworks  in  Point  d'Esprit  Net.  One  draws  a  square  and 
divides  it  vertically  and  horizontally  into  four,  five,  six  or  seven  equal  sections 
or  smaller  squares.  If  the  original  square  be  divided  into  four,  there  will  be 
sixteen  little  sections,  and  upon  these  one  places  four  dots — representing  cut- 
works.  No  two  of  these  dots  should  be  in  a  vertical  or  horizontal  line  from  each 
other,  but  always  to  the  right  or  the  left,  above  or  below,  so  that  only  one  spot 
appears  in  each  vertical  and  horizontal  space.  Arranging  them  is  as  much  fun 
as  playing  a  game.  When  one  large  square  is  finished,  one  places  a  duplicate — 
dots  and  all — adjoining  one  side  of  it ;  and  two  others,  one  below  each  of  these, 
thus  forming  a  still  larger  square  unit.  One  can  now  get  the  effect  of  their 
sprinkling  of  dots,  and  see  whether  these  chance  to  form  unexpected  and  objec- 
tionable bands  or  zigzags.  When  one  cuts  a  square  into  five  sections  each  way, 
one  places  upon  it  five  spots ;  if  into  six  divisions,  then  six  dots,  and  so  on.  As 
the  prickings  for  circular  nets  in  bobbin  lace  are  founded  upon  squares  placed 
diagonally  instead  of  vertically  and  horizontally,  one  should  turn  the  cross 
section  or  quadrille  paper  upon  which  one  has  distributed  one's  dots,  in  an 
oblique  position. 


RULES  FOE  MAKING 


229 

=□ 


LINE  H,  COL.  9, 
Flemish  Filling. 


This  is  an  easily  made,  strong  ground.  Each  pair  is  twisted  three  times. 
One  coming  from  the  upper  left  and  one  from  the  upper  right,  cloth-stitch. 
A  pin  is  placed,  the  pairs  are  again  twisted  three  times  and  the  pin  closed  by 
cloth-stitching. 


□: 


:□ 


230 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  H,  COL.  10. 
? 


mm* 


This  ground  has  a  sort  of  double-lattice  background,  each  pair  of  which  is 
twisted  three  times  on  its  long,  uninterrupted  sides  and  twice  on  its  short  sides, 
where  the  little  squares  are  formed.  Interwoven  through  this  is  a  fancier  mesh 
which  meets  in  the  center  of  the  little  squares,  cloth-stitching  and  closing  around 
the  central  pin.  The  pairs  that  make  this  joint  are  twisted  once  around  the 
pin,  but  are  not  twisted  afterwards  until  they  have  cloth-stitched  out  through 
the  center  of  the  sides  of  the  little  square  (between  its  two  twists).  Now  being 
out,  they  are  twisted  once  and  then  cloth-stitch  through  the  once-twisted  side  of 
the  big  square  just  encountered,  which  here  exchanges  to  form  the  fancy  mesh 
in  the  center  of  the  succeeding  little  square,  each  pair  being  twisted  once  after 
the  cloth-stitch,  which  is  supported  by  a  pin.  Thus  the  centers  of  the  big 
squares  are  empty. 


RULES  FOR  MAKING  231 
□  0 


LINE  H,  COL.  11, 

Five  or  Six  Sided  Milanese  Mesh. 


This  sample  requires  only  four  bobbins  altogether,  and  is  worked  from  one 
side  to  the  other;  the  lower  row  sewing  or  crocheting  into  the  one  above.  The 
pricking  is  made  on  the  diagonal.  A  pair  should  be  braided  twelve  times  be- 
tween joints.  Here  the  two  lower  pairs  are  left  untwisted;  one  of  the  upper 
threads  is  hooked  over  and  above  the  preceding  row,  and  its  mate  put  through 
the  loop,  when  one  twist  is  made  and  these  two  threads  looped  or  sewed  once 
around  each  other.  A  pin  is  placed  below  this  joint  between  the  two  pairs,  and 
braiding  is  recommenced. 


□  : 


232 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  H,  COL.  12, 
"Sunspots." 


Twelve  threads  grouped  into  three  braids  enter  near  the  top  of  each  "Sun- 
spot"  and  leave  towards  its  base.  The  left-hand  pair  of  the  right-hand  braid 
becomes  the  weaver.  It  half-stitches  through  the  right-hand  pair  of  the  center 
braid.  A  pin  is  then  placed  and  closed.  The  work  is  continued  towards  the  left, 
taking  in  the  two  pairs  of  the  left  tress.  Another  pin  is  placed  and  closed,  the 
work  now  going  towards  the  right,  taking  in  the  last  right-hand  pair.  Here 
it  pins,  closes,  and  works  to  the  left.  After  closing  here,  one  pair  makes  its 
exit.  One  then  works  again  to  the  right,  pins  and  closes,  where  another  pair 
makes  its  exit.  Again  towards  the  left.  Here,  after  closing,  one  pair  exits. 
These  two  left-hand  pairs  are  now  braided  and  enter  at  the  right  of  the  "Sun- 


RULES  FOB  MAKING 


LINE  H,  COL.  12— Continued 
"Sunspots." 

spot"  to  the  lower  left.  One  then  works  back  towards  the  right  and  here,  after 
closing,  makes  a  plait  that  will  enter  the  lower  right-hand  "Sunspot."  The 
two  remaining  pairs  at  the  bottom  are  then  braided  without  closing  and  enter 
the  top  of  the  "Spot"  almost  directly  below.  These  "Spots"  are  intended  to 
be  a  trifle  irregular  in  shape,  and  the  tresses  to  slope  a  bit.  The  spots  should 
be  a  little  smaller  than  the  ink  lines  on  this  pricking  indicate.  A  cordonnet  or 
gimp  outline  can  be  used  and  worked  through  the  vertical  top  and  bottom  braids. 


234 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  H,  COL.  13, 
Medici,  Florentine,  Byzantine  Knots. 


Two  pairs  are  used  on  each  side  to  make  the  braids,  and  the  two  center 
ones  used  after  the  braid  joint  is  made,  to  make  a  small  leaf  or  petal  (the  size 
of  the  petal  should  be  in  proportion  to  the  size  of  the  mesh  made  by  the  braids). 
Before  a  petal  is  started,  a  pin  should  be  placed  above  the  joint  to  hold  it  down- 
wards. After  the  petal  is  finished,  a  simple  granny  knot  is  tied  with  the  weaver 
and  its  mate — the  right-hand,  leaf  thread.  Then  a  pin  is  placed  below  the  joint 
to  hold  the  petal  up,  and  the  braiding  is  continued,  plaited  especially  tight  just 
around  the  joint. 


fa: 


RULES  FOR  MAKING 


235 

=□ 


LINE  H,  COL.  14, 
Italian  6  Legged  Spiders  with  Ribbons. 


Starting  at  the  apex  of  the  little  open  square,  one  twists  two  pairs,  makes 
a  cloth-stitch  with  them,  places  a  pin,  twists,  closes  and  twists.  One  of  these 
pairs  now  works  towards  the  left  and  one  towards  the  right.  The  left-hand 
pair  cloth-stitches  with  the  once-twisted  pair  now  entering  at  the  upper  left — that 
is  with  the  upper  left-hand  leg  of  this  little,  open,  spider  square.  A  pin  is  placed 
here  and  the  pairs  twist,  close,  twist.  One  should  do  likewise  at  the  right-hand 
with  the  right  pair  and  right  leg.  Again  the  same  at  the  bottom  with  the  two 
remaining  central  pairs,  for  the  two  legs  that  enter  at  the  upper  left  and  right 
exit  at  the  lower  left  and  right.  The  two  center  pairs  now  cloth-stitch  six  times 
untwisted  down  through  a  twisted  weaver  and  then  commence  another  spider 
similar  to  the  one  just  described.    But  it  is  well  to  be  careful  that  the  weaver 


236 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


LINE  H,  COL.  14— Continued 

Italian  6  Legged  Spiders  with  Ribbons. 

really  does  make  six  horizontal  trips.  This  worker  is  twisted  once  each  side 
of  the  pendant  legs  of  the  spider,  between  them  and  the  wavy  ribbons,  but  is 
not  twisted  in  weaving  through  the  legs. 

A  wavy,  cloth-stitch,  three-pair  band  or  ribbon  separates  one  column  of 
spiders  from  another.  Opposite  a  spider  on  one  side  of  the  upright,  wavy  border, 
come  six  weaver  crossings  on  the  opposite  side,  then  another  vertical,  waving 
ribbon;  then  again  a  spider. 

Where  the  weaving  pair  of  the  ribbon  meets  the  diagonal  leg  of  the 
spider,  it  should  be  noted  that  it  weaves  through  the  ribbon  once  above  the 
leg  and  downward  through  the  leg  and  then  drops  to  the  position  of  a  passive 
pair.  The  inside,  passive  pair  on  the  other  margin  of  the  ribbon  now  becomes 
the  new  worker,  cloth-stitching  once  through  the  descending  leg,  and  linen- 
stitching  through  to  the  other  side  of  the  ribbon. 


□  : 


RULES  FOB  MAKING 


237 


LINE  H,  COL.  15, 
Trude  "J"  Ground  (original)  (American). 


Each  leaf  requires  four  threads,  and  two  leaves  make  a  spot.  At  the 
top  of  the  spot,  where  two  leaves  meet,  one  coming  from  the  left  and  one 
from  the  right,  they  are  cloth-stitched  through  each  other,  each  pair  being 
used  as  one  thread.  The  next  right-hand  pair  then  becomes  weaver,  and  works 
toward  the  right  through  the  right-hand  pair,  where  a  pin  is  placed  to  the 

right,  just  below  the  top  of  the  spot.  The  edge  is  made  Winkie  Pin  fashion, 

without  twisting  around  the  pin.  At  the  two  central,  side,  pinholes,  two  other 
leaves  touch.  The  nearest  pair  to  the  incoming  or  approaching  petal  is  used 
as  a  new  weaver,  and  exchanges  with  the  old  one  which  goes  out  into  the  side 
petal.  A  pin  is  placed  at  the  base  of  the  spot,  where  the  two,  left-hand  pairs 
are  cloth-stitched  together  and  the  two,  right-hand  pairs  together.  The  pin 
is  then  closed  by  linen-stitching  the  two,  inner  pairs. 


238 
□= 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


--a 


LINE  H,  COL.  16, 
Abruzzian  "Point  and  Flat." 


jitr 

ft: 

»  ■ 

4 

Hi 

Five  pairs  are  required  for  each  little  square:  but  the  fifth  or  outermost 
pair  of  one  square  is  also  the  fifth  or  edge  pair  of  the  adjoining  check — being 
shared  between  them  at  the  top  and  bottom  and  both  sides,  and  being  worked 
without  twisting  whether  it  is  a  pendent,  vertical  pair  or  the  weaver.  At  the 
corner  of  each  check,  in  the  center  of  the  stitch,  between  the  threads,  a  pin 
should  be  placed  to  keep  them  in  line  as  well  as  to  avoid  confusion.  Every 
other  square  is  made  of  linen-stitch,  and  the  alternate  ones  are  grilles:  the 
threads  in  each  direction  being  twisted  once  between  encounters. 


RULES  FOR  MAKING 


239 

=□ 


LINE  H,  COL.  17, 
Tresses  with  Open  Hooked  Joints. 


A  quickly,  easily  made  stitch.  This  sample  can  be  done  in  either  of  two 
ways : — by  weaving  several  parallel,  upright  braids,  or  by  making  one  horizontal 
plait,  running  first  in  one  direction,  then  returning  below  in  the  opposite 
direction.  This  sample  was  made  by  the  first  of  these  two  methods,  which 
places  the  two  holes  of  the  joint  side  by  side  between  the  upper  and  lower 
braids: — the  second  method  would  place  these  two,  little  holes  one  above  the 
other.  There  should  be  four  threads  to  the  braid  and  four  braid  stitches  tightly 
done  between  joints.  The  actual  joint  will  pull  a  little  to  one  side  of  the 
pin  hole,  as  the  pin  of  the  preceding  plait  or  braid  is  removed  when  the  joint 
is  made,  and  the  second  braid  of  the  joint  pulls  the  first  one  towards  it.  No 
pin  is  needed  to  hold  the  joint  in  position. 

The  first  braid  is  plaited  four  times,  then  each  of  its  pairs  is  twisted 


240  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

□  =c 

LINE  H,  COL.  17— Continued 

Tresses  with  Open  Hooked  Joints. 

twice  and  a  pin  is  placed  in  the  opening  between  the  two  twists,  and  the  braid- 
ing is  continued  another  four  times,  when  this  braid  makes  a  joint  with  the 
one  preceding  it, — unless  it  happens,  of  course,  to  be  the  first  braid,  either 
topmost  or  farthest  to  the  left.  A  joint  is  made  where  a  later  braid  in  its 
zigzags  meet  a  preceding  one.  Then  the  pair  in  the  second  braid  nearest  the 
first  plait,  is  twisted  once,  and  one  thread  is  hooked  into  the  former  pin  space 
while  the  mate  is  passed  into  this  croehetage  loop.  The  threads  are  pulled  up 
smoothly,  the  working  pair  twisted  once,  and  the  idle,  hanging  pair  twice.  Then 
regular  braiding  is  recommenced.  In  making  the  first  two,  tress  stitches  after 
the  joint,  the  braid  should  be  held  in  a  Jine  continuous  to  its  direction  before 
the  joint  was  made,  as  this  helps  to  pull  out  the  preceding  braid  more  smoothly. 


□  =□ 


RULES  FOB  MAKING 


241 

— □ 


LINE  H,  COL.  18, 

?  ? 


This  sample  requires  twelve,  vertical  pairs  and  a  weaver. 

Two  horizontal  threads,  twisted  four  times  between  the  flat,  spread-out, 
vertical  bands,  act  as  a  conductor,  weaving  from  one  side  of  the  lace  to  the 
other  and  back,  cloth-stitching  through  the  four,  untwisted,  vertical  threads.  No 
pins  are  necessary,  except  as  occasional  supports  to  keep  the  lines  straight  and 
in  plumb. 


242  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

□     L. 

LINE  H,  COL.  18, 
Lower  Half. 


This  sample  requires  fourteen,  twisted  pairs. 

The  sides  of  the  ellipses  are  twisted  three  times  between  stitches  to  keep 
them  open,  and  each  section  of  the  cross  inside  of  the  ellipse  is  twisted  three 
times  to  round  out  the  ellipse.  Supporting  pins  are  placed  under,  but  not 
inside  of  the  joints  to  support  these  crosses.  The  bars  between  one  ellipse  and 
another  should  be  twisted  only  once. 


□  : 


:□ 


BIBLIOGRAPHY 


This  list  was  started  soon  after  the  author  left  school.  Unfortunately,  she  then 
had  no  definite  object  in  keeping  it :  but  did  so  simply  because  anything  to  do  with 
lace,  appealed  to  her.  She  therefore  noted  books  and  articles  so  connected  when  she 
saw  them  in  museums,  public  libraries,  private  collections,  catalogues,  books,  mag- 
azines, newspapers  or  at  sales :  but  she  did  not  always  keep  an  account  of  where 
she  had  come  across  the  works.  The  descriptions  of  the  many  different  editions 
of  the  Vinciolo  and  Vecellio  pattern  books,  are  largely  quoted  from  Mrs.  Bury 
Palliser,  whose  splendid  " History  of  Lace"  is  well  worth  perusal  or  consulta- 
tion. Although  the  following  bibliography  has  been  compiled  from  many  sources, 
thanks  are  particularly  due  to  the  Needle  and  Bobbin  Club  for  kindly  allowing 
its  list  to  be  reprinted;  to  the  author's  friend  and  schoolmate,  Miss  Euth  S.  Gran- 
niss,  Librarian  of  the  Grolier  Club ;  to  Miss  Frances  Morris,  Assistant  Curator 
at  the  Metropolitan  Museum  and  Vice-President  of  the  Needle  and  Bobbin 
Club;  and  to  Mr.  William  M.  Ivins,  Junior,  Curator  of  Prints  at  the  Metro- 
politan Museum.  As  it  is  practically  impossible  to  see  personally  every  book 
described  in  a  list  of  this  sort  :  but  it  is  nevertheless  desirable  to  make  such  a 
bibliography  as  nearly  complete  as  possible  in  order  that  it  may  be  of  the  great- 
est service,  the  author  has  included  books  which  she,  not  having  already  come 
across  herself,  found  listed  elsewhere ;  or  she  added  to  her  own  nucleus  of  in- 
formation, items  that  seemed  desirable.  But  feeling  that  the  compilers  of  such 
matter,  should  have  the  credit  for  the  fine  detailed  work  they  have  done,  the 
author  has  used  only  such  parts  of  their  descriptions  as  are  essential  to  the 
identification  of  the  different  volumes.  It  has  also  seemed  more  accurate  not 
to  translate  the  descriptions  given  by  others.  In  cases  where  the  differences 
between  the  two  books  are  very  slight,  both  volumes  are  noted,  as  without  in 
each  instance  seeing  the  actual  work,  it  is  impossible  to  decide  which  annota- 
tion is  the  more  exact.  Beaders  are  referred  especially  to  the  catalogues  of 
the  South  Kensington  Museum,  Mrs.  Bury  Palliser,  Mr.  E.  F.  Strange,  Mr. 
Emmanuel  Bocher,  and  Professor  Eugene  van  Overloop. 

Mr.  Edward  F.  Strange  in  the  Vllth  Volume  of  the  Transactions  of  the  Bib- 
liographical Society  gives  the  following  interesting  and  enlightening  account: 
The  earliest  known  Lace-book  now  appears  to  be  that  of  Jorg  Castel, 
of  Zwickau,  Ein  New  Modelbuch,  etc.,  1525,  a  copy  of  which  has  recently 
been  added  to  the  collection  in  the  Konigliche  Kunstgewerbe  Bibliothek, 
Dresden.  This  furnishes  the  originals,  of  which  six  plates  in  the  book  of 
Pierre  de  Sancte  Lucie,  Diet  Le  Prince,  successor  to  Claude  Nourry,  of 
Lyons  (1530-1533)  are  copies.  Its  title  page  shows  it,  however,  to  have 
had  at  least  one  earlier  edition;  and  others  followed  in  1527  and  1529. 

Next  in  order  of  date  seems  to  come  the  publication  of  Peter  Quentell, 
of  Cologne,  Eyn  ney  Kunstlich  hoick  .  .  .     Gedrucht  izu  Collen  up  dem 

243 


244 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


Doemhoff  dwrch  Peter  Quentell.  Anno  MDXXVII.1  In  the  same  year, 
and  at  the  same  town,  appeared  Liure  noveau  et  subtil  touchant  lart  et 
sciece  tant  de  brouderie  fronssures,  tapisseries  ....  En  primer e  a  culoge 
[Cologne]  par  matrepiere  quinty  deupre  leglie  de  Hi  roies.  Then  come  two 
rare  volumes,  of  which  copies,  said  to  be  uniqne  and  hitherto  nndescribed, 
were  offered  for  sale  by  Bosenthal,  of  Munich,  a  short  time  since:  Ein 
new  Furm  buchlein  (c.  1528-29,  with  32  plates,  said  to  be  entirely  original) 
and  Ein  new  getrnckt  model  Buchli;  auff  nehen  vnnd  bortten  wircken  ynn 
der  laden  vnnd  lanngenn  gestell.  Gcmntz  gerecht  nach  abteilung  der 
Feden  tzal.  (1529.  Forty-five  cuts  of  needlework  and  lace.)  It  appears, 
however,  to  be  an  edition  of  Oast  el's  book.  [The  last  two  are  now  (1918) 
in  the  Metro.  Mus.,  N.  Y.    Gertrude  Whiting.] 

The  earliest  Italian  book  of  which  a  record  exists  is  A.  Paganino's 
De  rechami  .  ...  (Venice,  1527).  Then  comes  an  edition  dated  1528 
(noted  by  Brunet  and  Merli),  of  Giovanni  Antonio  Taglienti's  Opera 
nuova  che  insegna  a  le  Done  a  cuscire,  the  edition  of  1530  being  printed 
at  Venice  "per  Giovan  Antonio  Tagliente  &  i  Fratelli  de  Sabbio." 
Tagliente  was  the  compiler  of  one  of  the  earliest  and  best  of  the  writing- 
books  (1524) .  This  publication  has  a  title  in  red  gothic  letters ;  four  wood- 
cuts, with  women  at  work.  Its  contents  are  of  a  somewhat  fanciful  nature, 
and  include  several  symbols,  such  as  hearts  transfixed  with  arrow  and 
sword,  several  pages  of  examples  of  lettering,  designs  of  animals  and  vases, 
a  good  border  of  angels  on  the  reverse  of  Aiiii,  and  six  pages  of  instruc- 
tions ;  from  which  we  see  that  the  patterns  were  intended  to  be  executed  in 
various  coloured  and  black  silks,  gold  and  silver  thread,  etc.,  for  em- 
broidery, for  the  use  of  both  men  and  women.  The  next  is  Esemplario  di 
lavori  dove  le  tenere,  etc.:  Venice,  "per  Nioolo  D'Aristotile  detto  Zoppino 
MDXXIX,"  of  which  a  copy  is  in  the  Bodleian  Library;  and  in  1531 
appears  G.  A.  Vavassore's  Esemplario  di  lavori  che  insegna  alle  donne,  etc. 
Of  this  a  copy  is  in  the  Kunstgewerbe  Museum,  Berlin.  The  earliest  edi- 
tion described  by  Mrs.  Palliser,  is  only  dated  1546,  but  Dr.  Jessen  has 
doubtless  had  good  reasons  for  dating  his  copy  as  above,  and  Professor 
Kumsch  agrees  with  him.  An  interesting  point  in  it  is,  that  a  design  of 
Orpheus  charming  the  Beasts,  which  in  Tagliente 's  volume  appears  in 
simple  line  only,  is  in  that  of  Vavassore  shown  in  squares  for  making 
"lacis." 

Of  the  French  books,  the  honour  of  being  the  first  belongs  to  a  Floren- 
tine who  published  in  1530  la  fleur  de  la  science  de  pourtraicture  et  pat- 
rons de  broderie.  Facon  arabicque  et  ytalique. . . .  Ce  present  livre  a  este 
imprime  a  paris  par  jaques  nyverd.  Le  IV  jour  daoust.  Lan  de  grace  mil 
cinq  ces  XXX.  Pour  noble  home  messire  Francisque  Pelegrin  de  florence. 
It  is  of  value  as  showing  how  wide  was  the  diffusion  of  patterns,  though 
these  contain  neither  animals  nor  other  natural  objects,  and  are  confined 
to  moresques.  Of  about  the  same  date  is  that  published  by  Claude  Nourry 
at  Lyons. 


(1)  Transcribed  M.D.XXXVII  by  Mrs.  Palliser.  I  have  not  seen  a  copy,  but  the  mistake,  whether  hers  or 
Quentell's,  is  evident,  as  the  earlier  date  is  inserted  at  the  back  of  the  title.   [See  Egenolff,  1527.   Gertrude  Whiting.] 


BIBLIOGRAPHY 


245 


So  far  as  the  beginnings  of  our  subject  in  other  countries  are  con- 
cerned, we  may  note  A  nea/we  treaty s:  as  coernynge  the  excellency  of  the 
nedle  worcke  so  playnli  made  $  set  tout  in  portrature,  the  whiche  is 
difficyll;  and  natoly  for  crafts  me  but  also  for  gentlewome  $  ioge  damosels 
that  therein  may  obtayne  greater  conynge  delyte  and  pleasure.  These 
boohs  be  to  sell  at  Andwarp  in  the  golden  Unycorne  at  Willm  Vorster- 
mans.  As  W.  Vorsterman  worked  from  1514  to  1542,  we  have  here  limiting 
dates  which  show  the  work  to  have  been  quite  early,  and  the  fact  that  it 
was  worth  while  to  produce  it  with  an  English  title  is  interesting  evidence 
of  the  closeness  of  the  commercial  intercourse  between  this  country  and  the 
Netherlands.  The  first  genuinely  British  pattern-book  I  have  been  able 
to  trace  was  printed  at  London  by  J.  Wolfe  and  Edward  White  for  Adrian 
Poyntz  in  1591:  New  and  singular  patt ernes  and  worhes  of  Linnen,  etc. 
It  has  an  interesting  1 1  Epistle  to  the  Reader, ■ 9  and  dedication : — ' 1  To  the 
Right  Worshipful  Gentlewoman,  Mistress  Susan  Saltonstall,  wife  to  the 
right  Worshipfull  Mr.  Richard  Saltonstall,  Alderman  of  the  City  of  Lon- 
don,''  both  given  at  full  length  by  Mrs.  Palliser.  In  the  latter  the  author 
alludes  to  "certaine  paternes  of  cut-worke  and  others  brought  out  of  For- 
eign Countries  which  have  been  greatly  accepted  of  by  divers  Ladies  and 
Gentlewomen  of  sundrie  nations  and  consequently  of  the  common  people," 
and  states  his  hope  "to  increase  and  augment  with  more  paternes  of 
work. '  9 

It  is  a  surprising  fact  that  no  one,  so  far  as  I  am  aware,  has  yet  noted 
the  existence  of  any  Spanish  book  of  the  kind,  though,  as  Mrs.  Palliser 
says,  ' '  Dominique  de  Sera,  in  his  Livre  de  Lingerie,  published  in  1584,  es- 
pecially mentions  that  many  of  the  patterns  of  point  couppe  and  passe- 
ment  given  were  collected  by  him  during  his  travels  in  Spain."  The 
Spanish  writing-books,  though  few  in  number,  are  among  the  finest  of 
their  class;  and  one  would  have  expected  at  least  some  sets  of  patterns  to 
have  been  published  in  that  country,  though  they  would  have  probably  been 
devoted  to  gold  and  silver  thread- work  rather  than  lace,  the  use  of  which 
was  restricted  by  ordinances  and  heavy  duties,  and  the  supply  derived  from 
the  Low  Countries  and  France.  The  1597  edition  of  Parasoled  Studio 
delle  Virtuose  Dame  has  a  dedication  in  Spanish,  to  Doha  Joana  de  Ara- 
gon  y  Cardona,  a  member  of  the  family  of  the  Dukes  of  Segorbe.  Her  arms 
appear  on  the  title-page  ;  and  one  of  its  quarterings — the  "Moorish  King" 
of  the  Cordova  shield — forms  the  central  ornament  of  the  first  cut,  with 
other  heraldic  devices ;  and  the  inscription  Nichil  sine  ipso  factum  est. 


ABBKEVIATIONS 

B.  K.  M   Berlin  Kunstgewerbe  Museum. 

D.  K.  S.  .    .    .    .    .    .  Dresden  Kunstgewerbe  Schule. 

B.  M   British  Museum. 

Metro  Mus   Metropolitan  Museum,  New  York. 

S.  K.  M.  .    .    .    .    .    .  South  Kensington  Museum. 

V.  &  A.  M   Victoria  and  Albert  Museum. 


246 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


Fuller  descriptions  of  the  following  early  pattern  books  can  be  found  in  the 
"Manuel  des  Travaux  a  P  Aiguille,"  1911,  by  Emmanuel  Bocher,  in  "A  History 
of  Lace,"  1902,  by  Mrs.  Bury  Palliser,  or  in  "Early  Pattern  Books  of  Lace,  Em- 
broidery and  Needlework"  by  Edward  F.  Strange  in  the  Transactions  of  the 
Bibliographical  Society,  December,  1904,London : — 


Listed  in 

Present          Listed  by  Listed  by  Listed  by 

Volume  Mr.  Bocher  Mrs.  Palliser  Mr.  Strange 

as  book  No.  as  book  No.  as  book  No.  as  book  No. 


Listed  in 

Present         Listed  by        Listed  by  Listed  by 

Volume         Mr.  Bocher  Mrs.  Palliser  Mr.  Strange 

as  book  No.  as  book  No.  as  book  No.  as  book  No. 


17  93 

47  179 

48  Ill 

49  183 

53  92 

58  27 

59  141 

60  3(3 

61  1 

62  2 

63  3 

64  145 

68  4 

71  4 

77  5 

78  169 

83  6 

86  5 

87  7 

104  74 

105  166 

106  166  bis 

162  103 

197  52 

202  128 

203    51 

204  174 

205  175 

239  19 

240  S 

241  9 

250  28 

268  164 

269  9 

356  10 

357......... 114 

365    88 

382  11 

383  113 

384  13 

385   63 

386  12 

387  184 

473  129 

496    29 

517  16 

518  17 

519  35 

520  18 

521  19 

522  130 

546  11 

553    32 

554  31 

579    45 

587  46 

589  48 

590    64 

591  21 


592  65 

593  63 

594  22 

598  S6 

599  149 

600  87 

601  137 

606  43 

610  93 

615  94 

617  43 

618  171 

619  23 

621  75 

622  76 

624  51 

625  62 

626  149  bis 

630  33 

644  71 

646  22 

648  23 

650  24 

651  21 

652  131  bis 

660  163 

662  26 

667  115 

686  55 

694  25 

695    81 

700  122 

722  69 

752  29 

771  27 

781  77 

782  118 

789  180 

808  32 

809    53 

810  31 

811  30 

867  165 

871  148 

872  32 

873    33 

874    34 

875  146 

876.  147 

906  .35 

949  36 

950  88 

951  168 

1004  85 

1005  167 

1027  95 

1029  37 

1030  96 

1031  170 


BIBLIOGRAPHY 


247 


Listed  in 

Present          Listed  by  Listed  by  Listed  by 

Volume  Mr.  Bocher  Mrs.  Palliser  Mr.  Strange 

as  book  No.  as  book  No.  as  book  No.  as  book  No. 


1032  38 

1084  121 

1109  105 

1110  106 

1111  156 

1141  39 

1155  18 

1195  102 

1203    83 

1214  26  41 

1217  38 

1218  80 

1219  134 

1220    34 

1231  72 

1232    73 

1233  42 

1234  43 

1250  33 

1253  44 

1278  187 

1285  26 

1296  79 

1297  45 

1298  123 

1311  153 

1313  13 

1316  108 

1317  57 

1318  109 

1319  46 

1320  84 

1322  48 

1323  49 

1341  56 

1342  57 

1343  58 

1344  28 

1345    60 

1346  61 

1347  60  bis 

1348  81 

1349  81  bis 

1350  39 

1351  56 

1352  27 

1354  110 

1355  Ill 

1356  151  bis 

1358  154 

1359  155 

1360  75 

1361  76 

1362  54 

1363  7 

1364a  6 

1365  116 

1366  117 

1367  118 

1368  119 

1369  50 

1370    51 

1371  52 

1372  53 

1374    24 

1398  49 

1400    58 


Listed  in 

Present          Listed  by         Listed  by  Listed  by 

Volume  Mr.  Bocher  Mrs.  Palliser  Mr.  Strange 

as  book  No.  as  book  No.  as  book  No.  as  book  No. 


1402    59 

1403  101 

1409    57 

1410  178 

1411  176 

1413  177 

1420  74 

1421  47 

1422    61 

1425  70 

1429    54 

1438  78 

1440  172 

1441  173 

1461  89 

1462  90 

1463  62 

1465  91 

1466  92 

1490    28 

1491  29 

1492  63 

1493  30 

1498  126 

1523  181 

1537  62 

1566  162 

1567  161 

1575  144 

1580  80 

1581  125 

1582  124 

1583  159 

1584  160 

1586  87 

1596  1 

1624  112 

1625  61 

1626  65 

1628  42 

1636  94 

1637  110 

1638  93 

1639  109 

1642  133 

1644  90 

1645  139 

1646  140 

1649  69 

1650  70 

1651.  67 

1667  71 

1686  12 

1713  72 

1722  79 

1730  142 

1731  143 

1734    73 

1736  150 

1737  151 

1755  127 

1758  54 

1759  63 

1767  182 

1769  158 

1791  50 

1795  46 


248 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


Listed  in 

Present         Listed  by        Listed  by        Listed  by 

Volume  Mr.  Bocher  Mrs.  Palliser  Mr.  Strange 

as  book  No.  as  book  No.  as  book  No.  as  book  No. 


Listed  in 

Present  Listed  by  Listed  by        Listed  by 

Volume  Mr.  Bocher  Mrs.  Palliser  Mr.  Strange 

as  book  No.  as  book  No.  as  book  No.  as  book  No. 


1796  35 

1797  36 

1798  75 

1799  37 

1800    38 

1801  20 

1802  39 

1803    21 

1804    41 

1805a  40  - 

1806  120 

1809  152 

1810  22 

1811  23 

1814  85 

1815  12 

1817  11 

1818  81 

1819  77 

1820  77 

1821  77 

1822  83 

1823    78 

1824  78 

1825  14 

1826  80 

1828  15 

1829  16 

1830  17 

1831  18 

1832  84 

1836  79 

1842  19 

1843  20 

1868  108 


1869  136 

1870    90 

1871  98 

1872    89 

1873    98 

1874  65 

1875    65 

1876  66 

1878  67 

1879  96 

1880    68 

1881  69 

1882   97 

1885   .70 

1886  99 

1887  86 

1888  100 

1889  101 

1890  102 

1891  71 

1892  103 

1893  106 

1898  8 

1899  2 

1908  186 

1909  119 

1910  189 

1937  73 

1948  185 

1949  10 

1950  5 

1951  34 

1952  91 

1954    68 

1955  67 


For  the  facsimiles  here  noted  of  early  pattern  books,  see :  Amand-Durand, 
Cocheris,  Munster,  Ongania,  Quaritoh,  Bicci,  Seemann,  Wasnmth. 


NOTE 

Owing  to  a  re-arrangement  made  necessary  by  the  inclusion  of  several  new  titles,  the  fol- 
lowing numbers  have  been  omitted  from  the  Bibliography: — 794,  1055,  1307,  1424,  1456,  1464, 
1478,  1479,  1576,  1658,  1883. 

For  the  same  reason  the  following  interstitial  ones  have  been  added: — 747a,  881a,  902a, 
1516a,  1756a,  1805a,  1889a,  1949a. 


BIBLIOGRAPHY 


249 


1— Acker,  M.  E. — Crocheted  Doilies.   Harper's  Bazaar,  V.  36,  pp.  275-277, 

March,  1902. 

2— Adda,  Girolamo  d' — L'Art  et  1 'Industrie  aux  XVIe  et  XVIIe  siecles.  Essai 

bibliographique  sur  les  anciens  modeles  de  lingerie,  et  de  dentelles  et  de 
tapisseries,  etc.,  en  Italie.   Paris,  1863. 

3 —  Adda,  Marquis  Girolamo  d' — Essai  bibliographique  sur  les  anciens  Modeles 

de  Lingerie,  Dentelles,  etc.  Gazette  des  Beaux  Arts,  1863,  V.  15,  pp.  342- 
359;  1864,  V.  17,  pp.  421-429;  1864,  V.  17,  pp.  430-436. 

4 —  Adda,  Girolamo  d' — Essai  bibliographique  sur  les  anciens  modeles  de  lin- 

gerie, de  dentelles  et  de  tapisseries,  graves  et  publies  en  France,  en  Al- 
lemagne  et  en  Flandre.    Paris,  1864. 

5 —  Adda,  Girolamo  d' — Le  Lit  de  Castellazzo.    Gazette  des  Beaux  Arts,  1863, 

V.  14,  p.  97. 

6 —  Agnew,  Lilly,  at  Dublin — Projets  de  dentelles  modernes.    Paris,  Art  ap- 

plique, 2e  annee. 

7 —  Aktion  zur  Hebung  der  Spitzenhausindustrie  in  Osterreich,  Die.   Kunst  und 

Kunsthandwerh,  1905,  Vienna. 

8 —  Album  de  l'Elegance  Franchise  (Exposition  Internationale  de  Liege,  1905). 

Couture,  Dentelle,  Broderie,  Passementerie.  Numero  special  de  Dentelle 
et  Broderie,  Paris,  1905. 

9 —  Album  de  1 'Exposition  de  Part  anoien  Brux.    1884.    La  Dentelle.    30  pho- 

togr.  avec  notice  par  Eeusens.    Paris  gr.  in-fol. 

10 —  Album  of  2241  original,  pricked,  pen  and  ink  patterns  for  bobbin  lace  (Lille 

type),  Couvet  (Canton  de  Neuchatel,  Switzerland),  April  6.  1796,  Chev. 
Amy  (see  pricking  No.  322).  On  pattern  No.  310  is  written  "Justicier 
Besancent":  on  pattern  No.  311 — 44  Justicier  Besancenet" :  on  pattern  No. 
347 — " pour  Leonard":  on  pattern  No.  606 — "fait  par  Petitpierre ' ' :  and 
several  are  marked  "Henriod  Nre."    Owned  by  Miss  Gertrude  Whiting. 

11 —  Album  russi'scher  Leinenstickereien.    2  Lieferungen.    21  Blatt  sehr  fein  in 

Farben  ausgefuhrt.    4to.    St.  Petersburg,  1882. 

12 —  Alco,  Madam  Louise  D' — Traite  de  la  dentelle  aux  fuseaux.  Paris. 

13 —  Aldisio,  Nicolas  de — Les  Tissus  et  les  Dentelles  de  Perouse.    Art  decoratif, 

Paris,  1912.    Tome  14,  pp.  343-350. 

14 —  Alexandre,  A. — Les  Reines  de  PAiguille,  Modistes  et  Couturieres.  With 

about  50  charming  etchings  (several  full-page)  by  Frangois  Courboin, 
Paris,  1902.  Collection  of  upwards  of  200  original  drawings  of  designs 
for  Lace  of  various  and  elegant  patterns. 

15 —  Alexander,  Mrs.  Hirst — Art  Handicrafts  for  Gentlewomen.     The  Lady's 

Realm,  London,  1901. 

16— Allen,  M.  E.— Handicrafts  in  Old  Deerfield,    Outlook,  Y.  69,  pp.  592-597, 

Nov.  2,  1901. 

17 —  Allerhand  Model  zum  Stricken  un  Nahen.    Cat.  Evans,  Strand.    Obi.  4to, 

64  plates.    No  date. 

18 —  Alphabets  for  Samplers,  etc. — Pott,  A. — Neue  Zierschiften  fur  Weissund 

Kunst— Steckerei.    Obi.  fol.    Hamburg,  1869.    S.  K.  M. 


250  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

19 —  Alq,  L.  d' — Traite  de  la  dentelle  an  fuseau.    Dentelles  de  Mireoourt,  Valen- 

ciennes, Marines,  Flandre,  etc.    112  engravings.    Paris,  1879. 

20 —  Alvin,  L. — Les  anciens  patrons  de  broderie,  de  dentelle  et  de  gnipure.  Brus- 

sels, 1863. 

21 —  Ambrosiani,  Vincent — L 'Exposition  romaine  de  tapisseries,  tissus,  dentelles, 

etc.    Revue  de  VArt  chretien,  1887. 

22 —  American  Bevival  of  an  ancient  craft  ;  Italian  embroidery.    Outlook,  V.  96, 

pp.  800-801,  Dec.  10,  1910. 

23 —  Anker,  E. — Muster — Album  fur  Haekel-Arbeiten.     (18  double  plates,  con- 

taining 137  examples).    4to.    Leipzig,  1887.    S.  K.  M. 

24 —  Antonelli,  Dott.  Nicola — Dell'Arte  dei  Merletti.    Letto  a  Pisoniano  il  30  set- 

tembre,  1901 — Annexe:  Genoveffa  Frigerio  in  Borzaechini.  Como  ebbi 
idea  di  istituire  la  Scouola  di  Merletti  a  fuselli.  Enrico  Boretti,  Eome, 
1902. 

25 —  Archives  de  la  ville  de  Gand.    Eegistre  G.  G.  Fo.  123V. — Voorgeboden,  serie 

108  bis,  No.  184. 

26. — Arendt — Bechercher  les  origines  de  la  fabrication  des  dentelles.  Speciale- 
ment  dans  les  Flanders,  specifier  leurs  diverses  especes,  etc. 

27 —  Aristotle,  Nicolo  d' — Gli  universali  de  i  belle  ricami — antichi  e  moderni. 

Anno,  1530,  Venice. 

28 —  Aristotile,  Nicolo  d' — ^Esemplario  di  lavori  doue  le  tenere  fanciulle  et  altre 

donne  nobili  potranno  facilmente  imparare  il  modo  et  ordine  di  lavorare, 
cusire,  etc.  1878,  facsimile  of  edition  of  1530.  [See  Zoppino  (Aristo- 
tile detto.)] 

29 —  Armand-Durand — Livres  a  Dentelles.    Paris,  1887. 

30 —  Armand-Durand — Beproductions  and  prints  of  laces.    Vol  1-5.  (Collection 

of  Kursheedt  Manufacturing  Co.) 
Armand-Durand.    See  No.  623. 

31 —  Arts  de  la  Vie  et  du  Foyer,  Les.    La  Dentelle.    Revue  Univ.,  March,  1901, 

Paris. 

32 —  Aubert,  Felix — Dentelles,  etc. :    Col  en  dentelle  polychrome :  volants  et  even- 

tail,  etc.    L'Art  decoratif.    Paris,  1901. 

33 —  Aubert,  Felix — Entwiirfe  fiir  Spitz  en  und  S ticker eien. 

34 —  Aubert,  Felix — Nouveaux  eventails  et  chale  en  dentelle  polychrome.  L'Art 

decoratif,  Paris,  1899. 

35 —  Aubert,  Felix — Pro  jets  de  Dentelles  et  de  Broderies.    Paris,  Librairie  cen- 

trale,  1904.    30  plates,  folio. 

36 —  Aubrey,  Felix — Dentelles  de  1 'Exposition  Universelle  de  1867.    Bapport  du 

Jury  International. 

37 —  Aubrey,  F. — Bapport  sur  les  Dentelles,  etc.  fait  a  la  Comm.   Francaise  du 

Jury  International  de  ^Exposition  Universelle  de  Londres.  8vo.  Paris, 
1854.    S.  K.  M. 

•38 — Aubrety,  F.) — Dentelles,  tulles,  broderies,  et  passementeries.    Paris  Exhib. 

1867,  Beports,  vol.  IV.,  p.  233.    13  vols.  8vo.    Paris,  1868.    S.  K.  M. 
39 — Aufseeser,  Ernst  and  Kathleen — Gauze  Embroideries.  International  Studio^ 

V.  46,  pp.  153-154.    April,  1912. 


BIBLIOGRAPHY 


251 


40 —  Austin,  Ern.  J.  at  Norwood — Projets  do  dentelles  modernes.   Art  applique, 

2e  annee,  Paris. 

41 —  Babbitt,  Florence  S. — Samplers  I  Have  Read  Abont,  Seen  and  Owned.  Mich- 

igan  Pioneer  and  Historical  Society,  Collections  and  Researches.  V.  38, 
pp.  351-355,  1912. 

42 —  Bahrfeldt,  E. — Die  Ausstellung  von  Stickereien,  Hakel  und  Knnpfarbeiten 

des  Museums  schlesischer  Alterthumer  zu  Breslau. ' '  Kunst  und  Gewerbe, ' ' 
Vol.  XVII.,  p.  368,  4to.   Nurnberg,  1883.  S.  K.  M. 

43 —  Bainbridge,  Mabel  F. — A  Beginner's  Lace  Collection.    House  and  Garden, 

Dec,  1918. 

44 —  Bainbridge,  Mabel  F. — Early  Lace  Making  in  America.  House  and  Garden, 

April,  1916. 

45 —  Balachoff,  L.  L. — Recueil  d'Ornement.  55  plates.  P.  Ducber.  (Collection  of 

Kursheedt  Manufacturing  Co.,  N.  Y.) 

46—  Baldwin,  E.  F. — Woman's  Work  for  Women  in  Italy.    Outlook,  V.  81,  pp. 

185-189,  Sept.  23,  1905. 

47 —  Baler,  James — The  Needles  Excellency,  a  new  Booke  wherein  are  divers  ad- 

mirable Workes  with  the  Needle.  Newly  inuented  and  cut  in  Copper  for 
the  pleasure  and  profit  of  the  industrious.  Le  frontispice  represente  trois 
dames,  Sagesse,  Industrie,  Folie,  au  milieu  d'un  jardin.  Puis  viennent 
plusieurs  pieces  de  vers  composees  par  John  Taylor  a  la  louange  de  P ai- 
guille et  aussi  en  l'honneur  de  quelques  dames  industrieuses  telles  que  la 
reine  Elisabeth  et  la  comtesse  de  Pembroque.  Au-dessous  de  cette 
gravure :  Printed  for  James  Baler  and  are  to  be  sold  at  the  signe  of  the 
Marigold  in  Paules  Church  yard.  The  12th  Edition  in  larged  Wth  divers 
newe  workes  as  needle  workes,  purles  et  others  neuer  be  fore  printed,  1640. 
Piece  de  vers  intitulee  The  Fraise  of  the  Needle.  Puis  commencent  les 
broderies  qui  ne  sont  imprimees  qu'au  recto  et  qui  sont  toutes  numerotees 
en  chiff  res  arabes  en  bas  a  la  pointe,  a  gauche  de  la  planche.  Ces  broderies 
jusqu'a  la  planche  23,  paraissent  etre  des  copies  de  Pouvrage  allemand  de 
Siebmacker.  Les  autres  sont  d'un  caractere  different.  Elles  sont  au  nom- 
bre  de  29.  Done  en  tout:  le  Frontispice,  4  feuillets  preliminaires  et  29 
planches  de  broderies.    In-4°  oblong.   [See  No.  48.]   B.  M.  L. 

48 —  Baler,  James — The  needles  excellency,  a  new  booke  wherein  are  divers  ad- 

mirable workes  wrought  with  the  needle.  Newly  invented  and  cut  in  cop- 
per for  the  pleasure  and  profit  of  the  industrious.  Printed  for  James  Bo- 
ler,  &c,  1640.  Beneath  this  title  is  a  neat  engraving  of  three  ladies  in  a 
flower  garden,  under  the  names  of  Wisdom,  Industrie,  and  Follie.  It  ap- 
pears the  work  had  gone  through  twelve  impressions.  .  .  From  the  cos- 
tume of  a  lady  and  gentleman  in  one  of  the  patterns,  it  appears  to  have 
been  originally  published  in  the  reign  of  James  I. — (Douce.)  From  this 
description  of  the  frontispiece,  it  seems  to  be  copied  from  Sibmacher.  The 
Needle's  Excellency,  or  a  new  Book  of  Patterns,  with  a  poem  by  John  Tay- 
lor, in  Praise  of  the  Needle.  London,  1640.  Obi.  4to,  engraved  title,  and  28 
plates  of  patterns.   Another  copy  of  the  same  date,  marked  12th  edition, 


252  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

is  in  the  Library  of  King's  College,  Cambridge.    It  consists  of  title,  four 
leaves  with  the  poem,  subscribed  John  Taylor,  and  31  leaves  of  copper 
cuts  of  patterns.    [See  No.  47.] 
 Balthazar,  Sylvius — see  DuBois. 

49 —  Balthaazar,  Sylvius — Variarum  protractionum  (1)  quas  Vulgo  Maurusias 

vocant  (2)  omnium  antehac  excusarum,  libellus  longe  copiosissimus  pic- 
toribus,  aurifabris,  polymitariis  (3),  barbaricariis  (4),  variis  que  id  genus 
artificibus,  etiam  acu  operantibus,  utilissimus,  nuncque  primun  in  lucem 
editus,  anno  1554.  Balthazar  Sylvius  (5)  fecit.  Io  Theodor,  et  lo.  Is- 
rael de  Bry,  excud  (6).  24  feuilles  gravees  sur  cuivre  y  compris  le  titre. 
Les  feuilles  sont  toutes  imprimees  d'un  seul  cote.  (1)  Entrelacs,  mean- 
dres,  arabesques.  (2)  Moresques.  Voyez  Ducange,  Grlossarium  medice  et 
infimoe  latinitatis,  qui  cite  ce  livre  a  propos  du  mot  Maurusias.  (3)  Tis- 
serands.  (4)  Damasquineurs.  Azzimistes.  (5)  II  est  ainsi  nomme  a  la 
page  104  de  Pouvrage  de  Firmin  Didot.  Essai  sur  Phistoire  de  la  gravure 
sur  bois.  Paris,  1863.  (6)  Plusieurs  pieces  parmi  les  faiences  dites  de 
Henri  II,  sont  ornees  d'entrelacs  dont  le  dessin  se  trouve  dans  cet  ouvrage 
de  Balthazar  Sylvius.  In-4°  oblong.  Bibliotheque  Nationale. — Cabinet 
des  Estampes. 

50 —  Barber,  Bernard,  at  Nottingham — Projets  de  rideaux  de  dentelles.    Art  ap- 

plique, Ire  annee,  Paris. 

51 —  Barbour  Bros.    Imperial  Macrame  Lace  Book.    New  York,  1882. 

52 —  Barcelo  Gr. — La  Barcelo  tecnia  ossia  Parte  di  ritessere  e  di  restaurare  ogni 

specie  di  stofTa  di  imitare  e  restaurare  qualunque  sorta  di  merletti  e  di  cos- 
truire  delle  tappezzerie  in  figure,  fiori  e  rabeschi  in  mosaico  di  panno.  1 
vol.  de  texte  et  1  vol.  de  47  planches  grav.    Eoma,  1859. 

53 —  Barley,  William — A  Booke  of  Curious  and  strange  Inuentions,  called  the 

first  part  of  Needleworkes,  containing  many  singuler  and  fine  sortes  of  Cut- 
workes,  Baisde-workes,  Stiches,  and  open  Cutworke,  verie  easie  to  be 
learned  by  the  diligent  practisers,  that  shall  follow  the  directions  herein 
contained.  Newlie  augmented.  First  imprinted  in  Venice  and  now  agame 
neawly  printed  in  more  exquisite  sort  for  the  profit  and  delight  of  the  Gen- 
tlewomen of  England.    For  William  Barley,  1596.    B.  M. 

54 —  Barrett,  L. — New  Ideas  in  Lace-making.    Ladies  Home  Journal,  V.  19,  p. 

23,  February,  1902. 

55 —  Bartko,  Kurt — Blumen  und  praktische  Muster  fur  Spitzen.    Plauen.  C. 

Stoll,  1910. 

56 —  Bartko,  Kurt — Irish  Lace.    Plauen,  K.  Bartko,  1910. 

57 —  Baseus,  Nicholas — Pattern  Book,  4  editions.    Frankfort,  1568.    4to,  40  pp. 

58 —  Basset,  Nicholas — Ein  new  getruckt  model  Buchli,  auff  ausz  nehen  unnd  bori- 

ten  wircken  ynn  der  laden,  unnd  lanngenn  gestell.  Ganntz  gerecht  nach 
abteilung  der  feden  tzal.  Sans  lieu.  In-4°  gothique.  Titre  a  clairevoie, 
sans  encadrement.  En  resume  24  feuillets  dont  45  pages  de  dentelles  et 
de  broderies  a  deux  ou  plusieurs  modeles  a  la  page.  La  plupart  de  ces 
patrons  se  retrouvent  dans  les  volumes  publies  par  Claude  Nourry.  lis 
ont  de  nouveau  vu  le  jour  dans  le  New  Modelbuch,  publie  a  Francfort  en 
. :  ,      1569,  par  Nicolas  Basset.   Vente  Destailleurs,  1895. 


BIBLIOGRAPHY 


253 


59 —  Basset  (Baseus),  Nicolas — New  Modelbuch,  von  allerhandt  Art  Nehens  und 

Stickens  jetz  mit  viellerley  welshe  arbeyt,  model  und  stahlen  alien  stein- 
metzen,  seidenstickern,  und  Naterin,  sehr  nietzlich  und  Kiinstlich  von 
newen  zugericht.  Getruckt  zu  Francfurt  am  Meyn.  Anno  1569.  En  des- 
sous  du  titre  et  au-dessus  de  l'adresse  de  l'imprimeur  et  dn  millesime,  un 
medaillon  cireulaire  dans  lequel  se  detaehe  sur  nn  fond  noir,  un  profil  d'hom- 
me  regardant  vers  la  droite.  C  'est  le  portrait  de  l'imprimeur  Nicolas  Basset. 
Ce  medaillon  est  encastre  dans  le  haut  d'un  ovale  entoure  de  cuirs  roules, 
de  rinceaux  et  porte  en  bant  an  milieu,  un  petit  vase  aux  deux  cotes  duquel 
est  un  oiseau.  Au-dessus  du  medaillon  dans  l'interieur  de  1 'ovale,  N.  B. 
In-4°.  Page  non  cotee.  Au  verso  de  cette  page,  la  marque  de  Nicolas 
Basset.  52  feuillets.  Le  marquis  d'Adda  dans  sa  bibliographic  en  sig- 
nale  une  edition  de  1568.    Vente  Destailleurs,  1895. 

60 —  Baseus,  N. — New  modelbuch.    Von  allerhandt  Art,  Nehens  und  Stickens, 

jetzt  mit  viellerley  Welscber  Arbeyt,  Model  und  Stahlen,  alien  Steinmet- 
zen,  Seidenstickern  und  Neterin,  sebr  nutzlicb  und  kunstlicb,  von  newen 
zugericbt,  Gretruckt  zu  Frankfurt  am  Mayn,  1571.  Device  and  motto  of 
Nicolas  Baseus  on  title-page.  Sm.  4to.  153  woodcut  patterns.  Lib- 
rary V.  and  A.  Museum. 

61 —  Basset,  N. — New  modelbucb  von  Allerbandt  Art,  Nebens  und  Stickens  .  .  . 

Getruckt  zu  Franckfurt  am  Mayn,  M.  D.  LXXI.  [Mark  of  Nicolaus  Ba- 
seus, dated  1570,  on  titlepage.]  4°.  Title  and  39  cuts.  On  sbeet  1-4  is 
a  design  of  the  Wounds  of  Christ,  dated  1564.    V.  &  A.  M. 

62 —  Basset,  N. — [45  leaves  of  similar  patterns,  printed  on  both  sides.    On  last 

page:]  Getruckt  zu  Franckfurt  am  Mayn,  in  dem  Rosen  Fck,  by  Niclas 
Bassee.   V.  &  A.  M.    [See  No.  61.] 

63 —  Basset,  N. — [Another  edition.]    Gedruckt  zu  Franckfurt  am  Mayn.  M.D.- 

LXXXVIII  .  .  .  durch  Nicolaun  Basseum.    B.  K.  M.    [See  No.  61.] 

64 —  Baseus,  N — New  Medelbuch  von    allerhandt  art  Nehens,  Wirckens,  und 

Strickens,  ietz  mit  vielerley  welscher  arbeyt  modelvnd  stahlen  alien  stein- 
metzen  Gei  denstickern  und  naterin  sehr  nutzlicb  und  Kunstlicb  von  neu- 
wen  zugericht.  Gedruckt  zu  Francfurt  am  Mayn,  MDLXXXX  (1590). 
Sur  ce  titre,  un  fleuron  compose  d'un  ovale  encastre  dans  un  cartouche  or- 
nemente  de  rinceaux  sur  lesquels  on  voit  en  bas  debout  a  gauche  Adam, 
a  droite  Eve.  En  haut  assis  tous  les  deux,  a  gauche  Aaron,  a  droite  Moise. 
Dans  l'interieur  de  1 'ovale,  un  personnage  agenouille  de  profil  a  droite,  les 
deux  mains  jointes  devant  lui.  En  haut  le  bon  Dieu  sur  un  nuage.  Au 
fond  deux  collines  sur  le  haut  desquelles  on  voit  des  villes  et  leurs  murail- 
les.  Sur  la  bordure  qui  entoure  la  composition  on  lit :  Nicolaus  Baseus 
excelsus.  Dominus  &  humilia  respicit  et  alta.  A.  Loge  Considerat.  P.  S. 
138,  1590.  Gedruckt  zu  Franchfurt  am  Mayn  durch  Nicolaum  Bassacum 
MDLXXXX  (1590).  En  tout  40  feuillets,  77  planches  de  broderies  im- 
primees  au  recto  et  au  verso.  II  existe  de  ce  livre  une  edition  datee  1569. 
Voir  vente  Destailleurs.   In-8°  Oblong.   Bibliotheque  Nationale. 

65 —  Battenberg  Manual  (Eenaissance,  Flemish,  Arabian  Lace).  Henry  Franken- 

berg,  New  York,  1901.  (Collection  of  Kursheedt  Manufacturing  Co., 
N.Y.) 


254 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


66—  Battey,  E.  V.— Love  of  Lace.   Harper,  V.  53,  p.  679. 

67 —  Bayard,  Emile — L'Art  de  Eecoiniaitre  les  Dentelles,  Guipures,  etc.  Paris, 

1914.   E.  Boger  et  F.  Chernoriz. 

68 —  Be,  Pierre  Le — Bele  Prerie,  contenant  divers  caracteres  et  differentes  sortes 

de  lettres  alphabetiques,  a,  sgavoir  letteres  Bomaines,  de  formes,  lettres 
pour  appliquer  sur  le  reseuil,  ou  lassis  et  autres  pour  marquer  sur  toile 
et  linges,  par  Pierre  Le  Be,  Paris,  1601.  Iu-4°,  oblong.  Cite  dans  le  cata- 
logue de  monsieur  Picard,  1780. 

69 —  Beal,  J. — Les  Dentelles  anciennes — nouveau  Choix  de  Specimens  de  tout 

Styles,  Beproductions  d'apres  les  Originaux.  Paris,  A.  Calavas,  1887.  28 
plates. 

70 —  Beal,  J. — Dentelles,  Guipures  et  Broderies  de  difTerents  Styles.    Paris,  A. 

Calavas,  1892.    47  plates,  folio. 

71 —  Beatus,  M.  Georgius — [Dedication  to]  Der  Durchleuchtigen  Hochgebornen 

Furstin  und  Frawen  Loysen  Julianen,  Ehur  Furstin  unnd  Psalbgraffin  bey 
Bhein,  Herzogin  in  Obern,  und  Nidern  Bayern,  u.  Gebornen  Princessin  zu 
Oranien,  &  unser  Gradigen  Furstin  und  Frawen  [by]  M.  Georgious  Beatus 
und  Johannes  Ludovicus  Bitchius  als  Bomani  Beati  Seligen  Erben  da- 
selbst.  Gedruckt  zu  Franckfurt  am  Mayn  bey  Romani  Beati  Seligen  Er- 
ben M.  Georgii  Beati  und  Johann  Ludwig  Bitchen.  Im  Jar  1601.  77 
plates.    Hamburg  Mus. 

72 —  Becker,  B.  H. — Lace-Making  at  Nottingham.    Blackwood,  V.  132,  p.  477. 

73 —  Becker,  B.  H. — Lace-Making  at  Nottingham.    Eclectic  Magazine,  V.  99,  p. 

755. 

74 —  Becker,  B.  H. — Lace-Making  at  Nottingham.    English  Illustrated  Magazine, 

May  1884,  London.    V.  1,  p.  467. 

75 —  Becker,  Marie — Benaissance-Spitzen.    Velhagen  S  Klasings  Monatshejte, 

March,  1898,  Leipzig. 

76 —  Becker,  M. — Schon  newes  Modelbuch,  von  hundert  und  achtzig  schonen 

kunstreichen  und  gerechten  Modern,  Teutsche  und  Welsche,  welsche  aufT 
mancherly  Art  Konnen  geneet  werden,  als  mit  Zopffnath,  Creutz  und  Kon- 
nen  Judenstich,  auch  aufT  Laden  zu  wirken,  etc.  12  plates,  sm.  obi. 
Franckfurt  am  Mayn,  Matthes  Becker,  1601,  (Bound  with  it,  the  orna- 
mental title  and  two  leaves  of  a  Basel  pattern  book  of  1599).    S.  K.  M. 

77 —  Becker,  M. — Schon  newes  modelbuch  Von  hundert  vnd  achtzig  schoren  kun- 

streichen vnd  gerechten  Modem  Teutsche  vnd  Welsche,  welche  aufT  man- 
cherly Art  konnen  genoet  werden,  als  mit  ZopfTnath  Creutz  vnd  Juden- 
stich auch  aufT  Laden  zu  Wircken-Dessgleichen  von  ausserlesenen  Zinnigen 
oder  Spitzen.  Allen  Seydenstickern  Modelwurckerin  Naderin,  vnd  «ol- 
cher  Arbeit  geslissenen  Weibsbildern  sehrn  dienstlich,  vnd  zu  andern  Mus- 
tern  anleytlich  vnd  verstandig.  Franchfurt  am  Mayn,  In  Verlegung 
Matthes  Beckers.  M.D.C.L.  4°.  4  pp.  text.  Copy  of  Vecellio.  V.  & 
A.  M. 

78 —  Beckers,  Matthes — Schon  Newes  Modelbuch  von  hundert  vnd  achtzig  schonen 

Kunstreichen  vnd  gerechten  Modeln,  Teutsche  vnd  Welsche  aufT  Mancher- 
ley  art  Konnen  genut  werden,  als  mit  ZopfTnath,  Creutz  vnd  Judenstich, 
auch  aufT  Laden  zu  wircken.  Defsgleichen  von  auserlesenen  Zinnigen  oder 


BIBLIOGRAPHY 


255 


Spitzen.  Allen  Seydenstickern,  Modelwurckerin,  naderin,  und  soldier  ar- 
beit  geflissenen  Weibsbildern  sehr  dienstlich  vnd  zu  andern  Mustern,  an- 
leytlich  vnd  vesrtandig.  Franckf  urt  am  Mayn,  In  Verlegung  Matthes, 
Beckers,  MDCI  (1601).  In-4°  oblong.  Titre  et  2  feuillets.  57  feuillets. 
Get  ouvrage  n'est  mentionne  dans  aueune  bibliographie  et  est  complete- 
ment  inconnn.  Le  titre  imprime  en  rouge  et  noir  est  entoure  d'un  large 
dessin  representant  des  femmes  qui  travaillent.  Mme.  Bury-Palliser  dans 
sa  bibliographie  en  mentionne  nne  edition  de  1605. 

79 —  Beebe,  Mrs.  C.  D. — Lace,  ancient  and  modern.    New  York,  Sharps  Publish- 

ing Co.,  1880. 

80—  Belgian  Lace-Makers.    International  Magazine,  V.  1,  p.  123. 

81 —  Belin,  A. — Sensuyent  lis  patrons  de  Messire  Ant.  Belin,  etc.    sm.  4to.  (im- 

perfect copy;  28  designs  on  14  leaves  of  lace  patterns,  16th  cent.)  Pierre 
de  Saicte  Lncie,  called  le  Prince,  Lyon,  n.d.    S.  K.  M. 

82 —  Belin,  A. — Sensuyent  les  Patrons  de  Messire  A.  Belin,  etc.  Sm.  4to,  mounted 

imperfect  copy,  ornamental  title,  and  22  patterns.  Lyon,  P.  de  S.  Lucie, 
called  Le  Prince,  n.d.    S.  K.  M. 

83 —  Belin,  A. — Sensuyuent  les  Patrons  de  messire  Antoine  Belin,  Eeclus  de 

sainct  Marcial  de  Lyon.  Item  plusieurs  aultres  beaulx  Patrons  nouueaulx, 
qui  ont  este  inuentez  par  frere  Jehan  mayol,  carme  de  Lyon.  4°.  11 
leaves  of  cuts.    V.  &  A.  M. 

84 —  Belin,  A.,  see  Saincte  Lucie.    Also  Jehan  Troulon. 

85 —  Bell,  Mrs.  A. — Breton  Caps.    Connoisseur,  V.  23,  pp.  44-48,  Jan.  1909. 

86 —  Belleze  de  Becami  et  Dessegni,  opera  nuova,  nella  quale  si  ritrovano  varie 

et  diverse  sorti  di  mostre,  di  punti  tagliati,  et  punti  in  aiere  a  fogliami, 
punti  in  stuora  et  altra  sorte.  In  venetia.  MDLVIII.  In-8°  oblong.  1 
feuillet  preliminaire,  19  feuillets,  37  planches  de  broderies  imprimees  au 
recto  et  au  verso  sauf  la  derniere  qui  n'est  imprimee  qu'au  recto.  Vente 
Biva,  1856,  Vente  Yemenitz,  1867,  Catalogue  Cicognara. 

87 —  Bellezze. — ^Bellezze  de  Becami,  et  Dessegni.    Opera  noua,  nella  quale  si  rit- 

rovano, uarie,  &  diuerse  sorti  di  mostre,  di  punti  tagliati,  et  punti  in  aiere, 
a  fogliami,  punti  in  stuora,  et  altre  sorte,  come  nella  presente  uedrai.  Doue 
le  belle,  et  virtuose  donne  potrano  fare  ogni  sorte  di  lauori,  sopra  Colari 
Maneghetti,  &  sopra  tutte  quelle  cose,  doue  uanno  simil  lauori.  Opera 
non  men  bella,  che  vtile,  &  necessaria.  Et  non  piu  ueduta  in  luce.  In 
Venetia.  L'Anno  MDLVIII.  Sm.  Ob.  4to.  20  plates  of  patterns.  V.  & 
A.  M.  ^ 

88 —  Belleze  de  recami  et  dessegni,  etc. Venice,  1558.    Facsimile  edition. 

89 —  BejiOBHR,  J. — CpncKH  HapoAHH  Bee  h  TeKcrajiHa  opHaMeHTHKa. .  Ca 

14  opHTHHajiHHx  cjiHKa.  pp  254.  1907  AKaAeMHja  HoBHcaA.  MaTH- 
ija  CpncKa.  KH^nre.  Bpoj  21. 

90 —  Belovic — Vezilacka  unjetnost  u  Hrvata  i  Srba.    1906.   Zborink  za  narodni 

zivot  i  obicaje  iuznih  slavena  kn.  11.  1. 

91 —  Berain,  Oeuvres  completes  de — Library  of  the  Musee  des  Arts  Decoratifs, 

Paris.    Manueli  Hoepli,  Milan. 

92 —  Bernhard  and  Ellen.    Puntas  and  Passamenterie.    Connoisseur,  V.  24,  pp. 

82-88,  June,  1909. 


256  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

93 —  Berry,  Marguerite  du — La  Dentelle.    Paris,  Garnier,  Freres,  1906.    B.  M. 

94— Bert,  F. — Musee  de  Fabrique  de  F.  B.  Professeur  de  Theorie  de  Tissage, 

a  Lyon.   (Cat.)  fol.  Lyon,  1855.   S.  K.  M. 

95 —  Bertling,  Richard — Anton  Moeller's  Danziger  Frauentraehtenbuch,  1601. 

Facsimile,  mit  Text  von  A  Bertling.    Danzig,  Rich.    Bertling,  1886. 

96 —  Bertrand,  Jules — Le  Livre  d'or  de  St.  Pierre  les  Calais.    Histoire  des  den- 

telles,  des  tulles  et  de  leur  fabrication.  Calais,  Imp.  Tartar-Crespin, 
1885. 

97 —  Bethune,  Bon  Joseph — Pour  le  commerce  de  Dentelles.    Cercle  historique  et 

archeologique  de  Courtrai,  1903-1904. 

98 —  Bezon — Dictionnaire  general  des  tissus  anciens  et  modernes.    Lyon,  1836. 

99 —  Biais,  Th. — Etude  sur  les  Broderies,  Dentelles  et  EtofTes  a  l'Exposition  d'An- 

vers,  en  1885.    Paris,  Impr.    A.  Lahure,  n.d. 

100 —  Biddle,  C.  H. — Mansion  house  exhibition,  1883.    Irish  lace :  a  history  of  the 

industry  with  illustrations  and  a  map.    (Signed  at  the  end  by  Ben  Lind- 
sey  and  C.  H.  Biddle.)    London.    (1883.)  8°. 
101    Biechy,  Elise — Spitzenmuster.    Zeitschrift   des   Kunstgewerbevereins  in 
Munchen,  1881. 

102 —  Bille,  Jacques — Carton  de  dentelles.  L'Art  decor  atif.  March,  1902,  Paris. 

103 —  Binding  or  Overcast  Stitch.  Ladies  Home  Journal,  V.  24,  p.  39,  March, 

1907. 

104 —  Bindoni,  Giov.  ant. — II  monte  (Libro  secondo).    Opera  nuova  di  recami,  di 

punto  tagliato  a  fogliami,  dove  ogni  bella  donna  potra  fare  ogni  sorte  di 
lavori  cioe  colari,  fazzoletti,  maneghetti,  avertadure.  In  Venetia,  1560. 
Au  verso  du  titre  une  dedicace :  Giov.  ant.  Bindoni,  alia  signora  Vittoria 
da  Cordova  dans  laquelle  il  faut  noter  les  mots  suivants.  .  .  .  Ho  presso 
ardimento  di  presentavi  questo  secondo  monte,  il  quale.  The  dedi- 

cation dates  1559.  Suivent  15  feuillets  chiffres  avec  25  planches  de  bro- 
deries. Vente  Santarelli,  Chez  M.  Bigazzi  a  Florence. 

105 —  Bindoni,  G.  Antonio — Ricchezze,  Opera  di  Recami  intitulata  le  Richezze. 

Delle  bellissime  et  virtuosissime  donne,  Nella  quale  si  ritrova  varie  sorti 
di  punti  tagliati,  et  di  punti  in  aire,  dove  facilissimamente,  et  senza  f atica 
alcuna,  ogni  virtuosa  donna,  potra  lavorare  cavezzi  di  varie  sorti,  colari, 
merli,  da  cavezzi,  avertadure  da  huomo  et  da  donna,  manegheti,  merli  da 
mele  da  cusini,  over  f  orete,  maneg  tie  da  camise  et  da  vesture,  et  altre  varie 
sorte  di  frisi,  et  mostre,  si  come  veder  potrai,  ridotte  alia  vera  grandezza, 
forma  et  misura  che  debbono  ess  ere,  ne  mai  piu  pu  Padietro  vedute  da 
niuno.  Opera  non  meno  utilissima  che  necessaria.  A  la  fin.  In  Venetia 
Panno  MDLVII  (1557)  a  la  Libreria  de  la  Gatta.  Des  exemplaires  por- 
tent MDLVIII.  Premiere  edition  d'un  ouvrage  tres  rare  et  non  cite.  Elle 
comprend  en  tout  10  feuillets  et  13  planches  de  broderies,  dont  5  sont  de 
doubles  grandeurs.  Le  recto  du  premier  feuillet  contient  le  titre  donne 
ci-dessus,  et  une  dedicace,  de  G.  Antonio  Bindoni,  datee  du  3  avril  1557.  La 
souscription  occupe  seule  le  verso  du  dernier  feuillet.  Vente  Benedetto 
Maglione,  1894. 

106 —  Bindoni,  Gio.  Antonio — Ricchezze,  Opera  nova  di  Recami  intitulata  le 

Richezze  delle  bellissime  et  virtuosissime  donne  nella  quale  si  ritroza  varie 


BIBLIOGRAPHY 


257 


sorti  di  punti  tagliati  et  punti  in  aiere,  dove  facilissimamente  et  senza  fa- 
tica  alcuna  ogni  virtuosa  donna  potra  la  vorare  cavezzi.  .  .  . 

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grandenr.  La  primiere  page  contient  le  titre  et  au-dessous  un  avis 
de  Gio- Antonio  di  Bernandino  Bindoni  alle  virtuose  donne,  date  de  Venise, 
3  avril  1557.  Libro  secondo,  12  fT.  avec  broderies,  titre  et  dedicace  de  Bin- 
doni a  Lucretia  Soncina  gentil  donna  Paduana  sur  la  premiere  page.  La 
derniere  page  est  blanche.  La  3°  partie  a  pour  titre:  Bichezze.  Opera  di 
Recami  intitulata :  Le  Eichezze.  Elle  a  22  rT.  Le  premier  f euillet  con- 
tient le  titre  et  au-dessous  une  dedicace  de  Bindoni.  Au-dessous  de  la 
planche  au  recto  du  dernier  f euillet,  se  trouve  la  mention:  II  fine.  Plu- 
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108 —  Birdwood,  Sir  G.  C.  M. — Industrial  arts  of  India.    (Lace  and  Needlework, 

Vol.  2,  p.  68.)  S.  Kensington  Mus.  Art  Handbook,  2  vols.  8vo.  London, 
1880.    S.  KM. 

109—  Black,  C— Lace  Industry.    Living  Age,  V.  237,  pp.  415-425,  May  16,  1903. 

110 —  Black,  C. — The  Lace  Industry.    Monthly  Revieiv,  11,  No.  1,  p.  92.  Eclectic 

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111 —  Blackborne,  Arthur — Catalogue  of  the  famous  Blackborne  Collection  of 

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112 —  Blackburn,  Miss  G. — Volant  de  berthe   en   dentelles.      L'Art   decor atif, 

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113 —  Blais,  T. — Exposition  universelle,  1878.  Les  Tisus  et  les  Broderies.  Extr. 

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114 —  Blais,  T. — Les  Industries  d^Art  au  Champ  de  Mars.    Les  Tissus  et  les 

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115 —  Blanc,  C. — L'Art  dans  la  Parure  et  dans  le  Vetement.    8vo.    Paris,  1875. 

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116 —  Blanc,  C. — Art  in  Ornament  and  Dress.    (Translation  of  the  above.)  8vo. 

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117 —  Blanc,  Charles — Grammaire  des  Arts  decoratifs.    Dentelles.    Gazette  des 

Beaux-Arts.    1874,  Paris.    2nd  Series,  Vol.  IX,  p.  211,  8vo. 

118 —  Blanchon,  H.  L.  Alph. — Au  pays  des  dentellieres  (Le  Puy).     Le  Monde 

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119 —  Bland,  Mrs. — Malacca  Lace.    (Eoyal  Asiatic  Society — Straits  Branch.) 

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120 —  Blau,  Josef — Die  Spitzenkloppelei  in  Neuern  (Bohmerwald).  Extr.  Zeit- 

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258 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


123—  Bocher,  Emmanuel — Livres  a  dentelles    reprochiits    pur  Amand-Durand 

sous  la  direction  d 'Emmanuel  Bocher,  Paris,  Amand-Durand,  1883  and 
1887. 

124 —  Bocher,  Emmanuel — Manuel  des  Travaux  a  V Aiguille.    3  vols.,  Le  Filet 

Brode,  La  Frivolite,  Les  Glands,  etc.  Paris,  Librairie  Damascene  Mor- 
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125 —  Bock  (Dr.  F.) — Beschrebender  Katalog  einer  Sammlung  von  Spitzen  und 

Kanten,  etc.  (Coll.  purchased  by  the  Museum  at  Dresden.)  8  vo.  Aix, 
n.d.   S.  K.  M. 

126 —  Bock,  Dr.  Franz — Die  textilen  Byssus.   Aachen,  1895. 

127 —  Bock,  (Dr.  F.) — Geschichte  der  Liturgischen  Gewander  des  Mittelalters, 

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128 —  Bock,  Dr.  Fr. — Les  Dentelles  religieuses  d'apres  les  modeles  du  Moyen 

Age.   Le  Beffroi.   Vol.  Ill,  1866-1870,  Bruges. 

129 —  Bodli,  J. — Magyar  czipesz  szakismertclo  konyv.    Ill  pp.    Budapest,  1892. 

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130 —  Boehn,  Max  von — Die  Mode,  Menschen  und  Moden  im  17.,  18.  und  19.  Jahr- 

hundert.  Nach  Bildern  und  Kupfern  der  Zeit,  ausgewahlt  von  Ostr. 
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131 —  Bofarull,  Carles  de — Encajes  a  Mano.   Museum  Barcelona,  1912. 

132 —  Boisseree  (S) — Ueber  die  Kaiser- Dalmatika  in  der  St.  Peterskirche  zu 

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133 —  Bonnand,  Etienne — Autour  d'une  loi  (sur  la  Dentelle).    La  Dentelle,  1905, 

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134 —  Bonnand,  Etienne — Comment  on  cree  un  dessin  de  dentelle.    La  Dentelle, 

1904,  Paris. 

135 —  Bonnand,  Etienne — La  dentelle  et  dessin  dans  nos  establissements  d 'edu- 

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136—  Book  of  Patterns  for  Point  Lace.  Paris  1623.  4to.  Walpole's  sale,  1842. 

137 —  Borchgrave,  E.  de — Histoire  des  colonies   beiges    en   Allemagne    et  en 

Autriche. 

138 —  Borner,  Bruno — Colored  Patterns  for  Cross  Stitch  Work.    25  patterns. 

(Collection  of  Kursheedt  Manufacturing  Co.,  New  York). 

139 —  Borner,  Bruno — Colored  Patterns  for  Cross-stitch.  51  plates.  (Collection 

of  Kursheedt  Manufacturing  Co.,  N.  Y.) 

140 —  Bottomley,  H.  T. — How  to  make  the   fashionable   filet   lace.  Harper's 

Bazaar,  v.  47,  p.  241,  May  1913. 

141—  Bowdoin,  W.  G.— Point  and  Pillow  Lace.   Artist,  v.  27,  pp.  257-262,  312- 

316. 

142 —  Brackett,  A.  M. — Italian  Lace.    The  Art  Workers  Quarterly,  July,  1902, 

London. 

143 —  Branchardiere,  Mile.  R.  de  la — The  Book  of  Greek  and  Roman  Lace. 

Illus.   London,  1859.   obi.  24o. 

144 —  Branchardiere,  Mile.  R.  de  la — The  crochet  book.   London,  1847.  8o. 

145 —  Branchardiere,  Mile.  R.  de  la — The  Crotchet  Book  of  Emblem  Antima- 

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146 —  Branchardiere,  Mile.  E.  de  la — The  Irish  Lace  Instructor:  containing 

original  designs  for  Spanish  Point,  etc.  (Illus.)  obi.  4to.  Lond.  1886, 
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147 —  Branchardiere,  Mile.  R.  de  la — Lacework,  etc.   Selected.   Vol.  2.  1905. 

148 —  Branchardiere,  Mil.  Riego  de  la — Modern  Orris  Lace.    20  pp.  London, 

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149 —  Branchardiere,  Mile.  Riego  de  la — The  Netting  Book  for  Guipure  d'Art, 

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150 —  Branchardiere,  Mile.  Riego  de  la — The  Point  Lace  Sampler,  1871. 

151 —  Branchardiere,  Mile.  R.  de  la — Royal  Jubilee  Crochet  Book.  1887. 

152 —  Branchardiere,  Mile.  Riego  de  la — The  Royal  Point  Lace  Instructor,  1870. 

153 —  Braun,  Jos. — Winke  fur  die  Anfertigung  und  Verzierung  der  Paramente. 

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154 —  Braunmuhl,   C.  von — Das  Kunstgewerbe  in  Frauenhand.    4to.  Leipzig 

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155 —  Braunmuhl   (C.  von) — Uber  Technik  und  Entwickelung   der  Spitzen. 

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156 —  Brazza,  Cora  A.,  Slocomb  di — A  Guide  to  old  and  new  Lace  in  Italy,  ex- 

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157 —  Brenan,  James — Marketing  of  Irish  Lace.    See:    Ireland  Industrial  and 

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158 —  Brenan,  James — The  Modern  Irish  Lace  Industry.   Journal  and  Proceed- 

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159 —  Brenan,  James — The  Modern  Irish  Lace  Industry.    See:  Ireland  Indus- 

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160 —  Brenan  (J.) — Report  on  a  visit  to  Paris  and  Belgium  respecting  the 

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161 —  Breton,  Gaston  le — La  Tissuterie  Ancienne.     Gazette   des  Beaux  Arts, 

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162 —  Bretschneider,  A. — New  Modelbuch  Darinnen  allerley  kunstliche  Virsirung 

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163 —  Brieuves,  De — La  Dentelle — Historique  de  la  Dentelle  a  travers  les  ages 

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164 —  Brockhaus — Kunst  Kloppeln.    Conversations  Lexicon. 

165 —  Brooks,  Beatrice,  at  Comberwell — Plastron  en  dentelle  de  Carrickmacross. 

Art  applique,  Ire  annee,  Paris. 


260  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

166 —  Brown,  Margaret-Duogate,  at  Dover — Couverture  en  dentelle  pour  calice. 

Art  applique,  Ire  annee,  Paris. 

167—  Brown,  N.  C— Arabian  Lace.    Harper's  Bazaar,  V.  41,  pp.  886-888,  Sep- 

tember, 1907. 

168 —  Brown,  Nellie  Clark — How  to  Make  Battenberg  and  Point  Lace.  Boston, 

Priscilla  Publishing  Co.,  1900. 

169—  Brown,  N.  C— Lace  Table  Set.   Harper's  Bazaar,  V.  41,  pp.  1116-1119, 

November  1907. 

170 —  Brown,  M.  M. — How  lace-making  industry  in  Belgium  was  subsidized  by 

Commission  for  Belgian  Relief.    N.  Y.  Times,  Mar.  3,  V.  2 :1. 

171 —  Browning,  H.  Ellen — Some  beautiful  Lace  at  Nottingham  Castle.  The 

Lady's  Realm.   June  1903,  London. 

172 —  Bruges,  Musee  de  Gruuthuus.   Aneiennes  Dentelles  beiges.    Anvers,  1889. 

B.  M. 

173 —  Brunot,  H.  S. — Lace  Industry  of  France.     Scientific  American  Supple- 

ment, V.  57,  p.  23817,  June  25,  1904. 

174 —  Briissel — Historische  Spitzenausstellung.    Kungstgewerbeblatt,  1893-1894, 

Leipzig. 

175—  Brussels,  Expos.  Nationale  de  1880.— Cat.  Officiel.    (Sect.  IV.,  Classe  C, 

Dentelles  et  Broderies.)    16  mo.  Bruxelles,  1880.    S.  K.  M. 

176—  Brussels  Lace— A 11  the  Year,  V.  36,  pp.  296,  353. 

177 —  Brussels — Musees  des  Arts  decor  atifs.    Catalogue  des  ouvrages  se  rap- 

portant  a  l'industrie  de  la  dentelle.    433  pp.    Bruxelles,  1906.    B.  M. 

178 —  Buckinghamshire,  Countess  of — The  Buckinghamshire  Lace  Industry  and 

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179 —  Buckinghamshire,  Countess  of — Revival  of  Lace.    Argosy,  V.  63,  p.  156. 

180 —  Buckley,  Agnes,  at  Limmerick — Composition  pour  berthe  en  dentelle.  Art 

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181 —  Buhring,    W. — Schulen    fur    kunstlerische  Nadelspitzen  in  Hirschberg. 

Schleisen,  In  die  Kunst,  1910,  v.  22,  pp.  412,  413. 

182 —  Bulletin  commercial,  organe  hebdomadaire  du  Musee  commercial  de  Brux- 

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183 —  Bulletin  mensuel  de  V Association  generale  du  commerce  et  de  Pindustrie 

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184 —  Bulletin  of  the  Needle  and  Bobbin  Club.     Pub.  semi-annually  beginning 

Dec.  1916,  New  York. 

185 —  Bunner,  K. — Lace-makers  of  Aspley  Guise.    Craftsman,  V.  17,  pp.  85-89, 

October  1909. 

186 —  Bunsen,  Marie  von  and  Heiden,  Max — Berliner  Spitzen-Ausstellung,  1905. 

Plauen,  C.  Stoll. 

187—  Burando  (?),  Lace-making  at— " Art  &  Letters,"  Vol.  I.,  pp.  12,  42.  4to. 

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188—  Burando  (?)—  Patterns  of  Lace  made  at.  100  Photos.  Fol.  Burando,  1884. 

S.  K.  M. 


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modi  Pordine  e  il  modo  de  recamare,  etc.  Venice,  1527.  The  whole  con- 
taining over  150  plates  of  designs.  Venezia,  1878-80.  Only  a  small  num- 
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190—  Burrell,  Mrs.  J.   Knitted  Lace  Edgings.    3  pt.    Wisbech,  London  1845-6. 

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191 —  Burrowes,  M.  E.  B. — Buckinghamshire  Lace.    Art  Workers'  Quarterly , 

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192 —  Busse,  Gr.  F. — Die  Schatzkammer  der  Marienkirche  zu  Danzig.  (Photos. 

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193 —  Butterick  Publishing  Co. — The  Art  of  Crocheting.    Butterick,  New  York, 

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194—  Butterick  Publishing  Co.— The  Ar  t  of  Drawn  Work.  Butterick,  N.  Y.,  1897. 

(Collection  of  Kursheedt  Manufacturing  Co.,  N.  Y.) 

195—  Butterick  Publishing  Co. — Art  of  Drawn  Work.    1901.     (Collection  of 

Kursheedt  Manufacturing  Co.,  N.  Y.) 

196 —  Butterick  Publishing  Co. — The  Art  of  Modern  Lace-making.  Butterick, 

1891.     (Collection  of  Kursheedt  Manufacturing  Co.) 


197 —  C,  A. — Furm  oder  Modelbiichlein  darin  zu  lernen  vnnd  gantz  Lentlich  zu 

begreyfTen  die  recht  und  war  Kunst  auch  die  ausz  teylung  aller  hand 
gewirck  in  der  ram  in  der  lade  und  mit  der  Kand  ausz  zu  Nehen  ganntz 
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serie.   Catalogue  Tross,  1867. 

198—  C,  E.  M.— The  Lady's  Crochet-book,  3rd  series.    London,  1877.  8°. 

199—  C,  E.  M.— The  Lady's  Knitting- book.  Series  I-IV.  4  vols.  16  mo.  Lon- 

don, 1875.    S.  K.  M. 

200 —  Calais  Lace  Trade.   Board  of  Trade  Journal,  May  16,  1901,  London. 

201 —  Calavas,  A. — (Dentelles  diverses).    Portef.,  Paris,  A.  Calavas,  n.d. 

.202 — Calepino,  Francesco — Lucidario  di  Recami  nel  qval  si  contengono  molte 
et  varie  sorti  di  dissegni  a  pvnti  in  aere  et  pvnti  tagliati  et  a  fogliami  et 
con  figure  et  di  piu  altre  maniere,  come  al  presente  si  vsano,  non  piu  ven- 
ute  in  luce  per  leqvli  ogni  devato  ingegno  potra  in  diuersi  modi  comme 
dissimamamente  seruirsi.  In  Yenetia  appresso  Jeronimo  Calepino,  1563. 
Au-dessus  de  Padresse  de  Pediteur,  un  neuron  rectangulaire,  compose  de 
rinceaux  des  deux  cotes  d'un  vase,  et  au-dessous  un  autre  fleuron  a  claire- 
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cera  mia  digniss.  Francesco  Calepino.  S.  Puis  une  lettre  ornee  V.  entre 
les  branches  de  laquelle  on  voit  une  femme  tenant  dans  chacune  de  ses 
mains  levee  en  Pair  une  couronne.  Cette  lettre  ornee  est  en  tete  de  21 
lignes  de  texte  finissant  par  les  mots:  Div.  vara  et  singular  virtu.  Fran- 
cesco Calepino  affettionatiss.  Puis  les  broderies.  Page  non  cotee,  verso. 
Au  verso  de  cette  page  une  marque  d'imprimeur  consistant  en  rinceaux 
avec  un  ecusson  au  milieu,  dans  lequel  on  voit  un  animal  de  profil  a  gauche. 
En  resume  16  feuillets  contenant  27  planches  de  broderies  seulement,  a 


262 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


cause  des  planches  doubles.  C'est  pour  ne  pas  avoir  observe  ce  detail  que 
dans  sa  bibliographic  Mme  Bury-Palliser  indique  cet  ouvrage  comme  con- 
tenant  29  planches  de  broderies.  Bibliotheque  Nationale.  Bibliotheque 
de  1 'Arsenal. 

203 —  Calepino,  Jeronimo — Splendore  delle  virtuose  giovani  dove  si  contengono 

molte,  &  varie  mostre  a  fogliami  cio  e  punti  in  aere,  et  punti  tagliati,  bel- 
lissimi,  &  con  tale  arteficio,  che  li  punti  tagliati  serveno  alii  punti  in  aere. 
Et  da  quella  eh'  e  sopragasi  far  si  po'ssono,  medesimamente  molte  altre. 
In  Venetia  Appresso  Jeronimo  Calepino,  1563.  8vo,  20  ff\,  35  plates  of 
scroll  patterns  in  the  style  of  "II  Monte."  Venice,  1563.  Dedication 
"Alia  molto  honorata  M.  Anzola  ingegniera  suocera  mia  digniss."  Fran- 
cesco Calipino  wishing,  he  says,  to  "ristampare  la  presente  opera,"  he 
dedicates  it  to  her.    Bib.  Nat.  Bib.  de  1' Arsenal.   Cat.  d'Estrees. 

204 —  Calepino,  Francesco — Splendore  delle  virtuose  Giovani  dove  si  contengono 

molte  et  varie  mostre  a  fogliami.  Cioe  punti  in  aere  et  punti  tagliati  bell- 
issimi  &  con  tale  artificio  che  li  punti  tagliati  serueno  alii  punti  in  acre  et 
da  qvelle  che  sopragasi  far  si  possono  medesimamente  molte  altre.  In 
Venetia  appresso  Jeronimo  Calepino,  1563.  Ce  titre  est  inscrit  sur  une 
draperie  encadree  dans  deux  colonnes  sur  socle  et  surmontees  enhaut  d'un 
fronton  surbaisse  portant  au  milieu  un  gros  anneau.  Au  verso  une  dedi- 
cace:  Alia  molto  honorata,  M.  Anzola  Ingegniera  suocera  mia  digniss 
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d'une  page  deux  gravures  sur  bois,  l'une  au-dessus  de  1 'autre.  En  haut, 
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rinceaux.  Au-dessous  c'est  une  marque  d'imprimeur  au  milieu  de  laquelle 
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Pour  comprendre  legerement 

Damoyselle  bourgoyse  ou  fille. 

Femmes  qui  out  l'esperit  agille 

Ne  scaur oient  fallir  nullement. 

Corrige  est  nouvellement. 

Dung  honneste  homme  par  bon  zelle 

Son  nom  est  Dominique  Celle. 

Qui  a  tous  lecteurs  s'  humilye 

Domicille  a  en  Italie. 

En  Thoulouse  a  prins  sa  naissance. 

Mise  il  a  son  intelligence 

A  lamander  subtillement. 

Taille  il  est  totalement. 

Par  Jehan  Coste  de  rue  Merciere. 

A  Lyon  est  consequemment. 

Quatre  vingtz  fassons  a  vrayment. 

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297 —  Cocheris,  Hippolyte — Becueil  de  documents  graphiques  pour  servir  a  l'his- 

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298 —  Colaert — Discours  prononce  h  la  Chambre  des  Bepresentants,  le  8  avril, 

1884. 

299 —  Cole,   A.   S. — Ancienlt   Needlepoint  and  Pillow  Lace.    (20  Photographic 

illus.)    fol.   Lond.   1875.    S.  K.  M. 

300 —  Cole,  Alan  S. — Cantor  Lectures  on  Means  for  Verifying  Ancient  Enbroi- 

deries  and  Laces.    March,  1893,  London.    Wil  Trounce,  1895. 


268 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


301 —  Cole,  Alan  S. — Cantor  Lectures  on  the  Art  of  Lace-making,  delivered  be- 

fore the  Society  of  Arts,  April  and  May,  1881.  London,  1881.  B.M.  S.K.M. 

302 —  Cole,  Alan  S. — Cantor  Lectures.    The  Art  of  Lace-making.    Journal  of  the 

Society  of  Arts,  Sept.,  1881,  London. 

303 —  Cole,  Alan  S. — Catalogue  of  Antique  Lace.    Cork  School  of  Art,  1884. 

304 —  Cole,  A.  S. — Catalogue  of  Lace.    23  pp.,  1899.    Dublin  Science  and  Art 

Museum.    General  Guide,    pt.  4.  1908. 

305 —  Cole,  Alan  S. — Catalogue  of  Special  Loan  Exhibition  of  Lace  at  the  Mid- 

land Counties  Fine  Art  Museum,  1878. 

306 —  Cole,  Alan  S. — Copy  of  Report  on  the  Honiton  Lace  Industry,  etc.  Vol. 

LXXX.    Ordered  by  the  House  of  Commons  to  be  Printed,  April  19,  1888. 

307 —  Cole,  Alan  S. — Les  dentelles  anciennes,  traduit  par  Ch.  Haussonilier,  1878, 

Paris. 

308 —  Cole,  Alan  S. — Irish  Lace  and  Embroidery.     Great  Britain  Science -.and 

Art  Department,  45th  Annual  Report,  1897,  pp.  93-104. 

309 —  Cole,  Alan  S. — The  Irish  Lace  Industry.    Journal  of  the  Society  of  Arts, 

March,  1889,  London. 

310 —  Cole,  A.  S. — Irish  Lace-Making.    Journal  of  the  Society  of  Arts,  V.  37, 

p.  317. 

311 —  Cole,  Alan  S. — Irish  Lace,  Report  upon  visits  to  Convents,  Classes  and 

Schools,  etc.    London,  1887.    7  photos,  4  to. 

312 —  Cole,  Alan  S. — Irish  Papal  Jubilee  Lace.  Magazine  of  Art,  1888,  V.  11,  pp. 

200-204. 

313 —  Cole,  Alan  S. — Irische  Spitzen — translation.    Plauen,  C.  Stoll.    30  plates. 

314 —  Cole,  Alan  S. — Lace  at  the  South  Kensington  Museum.    The  Magazine  of 

Art,  Sept.  1895,  London.    V.  18,  p.  419. 

315 —  Cole,  Alan  S. — Lace  (Encyclopaedia  Britannica).     London,  A.  C.  Black, 

1902. 

316 —  Cole,  Alan  S. — Lace-making  in  Ireland.  The  English  Illustrated  Magazine, 

June  1890,  London.    V.  7,  p.  655. 

317—  Cole,  Alan  S. — Lace-making  in  Ireland.  Art  Workers'  Quarterly,  V.  3  (No. 

9),  pp.  4-7. 

318 —  Cole,  A.  S. — Lace-Making.    Journal  of  the  Society  of  Arts,  V.  29,  pp.  769- 

799. 

319—  Cole,  Alan  S.— Lace.    The  Magazine  of  Art,  Sept.  1879,  London.    V.  2,  p. 

249. 

320 —  Cole,  Alan  S. — Means  for  Verifying  Ancient  Embroideries  and  Laces  (Can- 

tor Lectures).  Journal  of  the  Society  of  Arts,  July  1895,  London.  V. 
43,  pp.  757,  769,  781. 

321 —  Cole,  Alan  S. — Needlework  and  Lace.  Pattern  Books  XVIth  Century.  The 

Bibliographer,  March,  1882,  London. 

322 —  Cole,  Alan  S. — A  Renascence  of  the  Irish  Art  of  Lace  Making.  London, 

Chapman  &  Hall,  1888.    B.  M. 

323 —  Cole,  Alan  S. — Recent  Developments  in  Devonshire  Lace-making.  Journal 

of  the  Soc.  of  Arts,  April,  1904,  London.    V.  49,  p.  192. 

324 —  Cole,  Alan  S. — Recent  Honiton  Lace.    Magazine  of  Art,  1892,  V.  15,  pp. 

30-33. 


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269 


325 —  Cole,  Alan  S. — Report  by  Mr.  Alan  Cole  upon  his  visits  to  Irish  Lace-mak- 

ing and  Embroidery  Schools,  in  1897.    London,  1897. 

326 —  Cole,  Alan  S. — Report  on  Northampton  Bucks  and  Beds  Lace-making.  No- 

vember, 1891,  London,  Eyre  &  Spottiswoode,  1892. 

327 —  Cole,  A.  S. — Report  on  the  visits  to  convents,  classes,  etc.,  where  lace- 

making  and  designing  for  lace  are  taught  .  .  .  in  Ireland.  8vo.  (Lond.) 
1885.    S.  K.  M. 

328 —  Cole,  Alan  S. — Report  upon  the    "Exposition  Retrospective"   of  the 

"Union  Centrale  des  Arts  Decor atifs"  exhibited  in  the  "Palais  de  l'ln- 
dustrie,"  1882.    London,  G.  E.  B.  Eyre  &  W.  Spottiswoode,  1883. 

329 —  Cole,  Alan  S. — Science  and  Art  Museum,  Leinster  House,  Dublin.  Cata- 

logue of  Lace,  with  an  Introduction  by  Alan  S.  Cole.  Dublin,  Alex.  Thorn, 
1878. 

330 —  Cole,  Alan  S.— Some  Recent  Irish  Laces.    The  Magazine  of  Art,  April, 

1891.    London.    V.  14,  p.  211. 

331 —  Cole,  Alan  S. — A  Supplemental  Descriptive  Catalogue  of  Specimens  of 

Lace  Acquired  for  the  South  Kensington  Museum  Between  1880  and  June, 
1890.    46  pages,  14  plates.    1  portfolio.    London,  Eyre  and  Spottiswoode. 

332 —  Cole,  Alan  S. — A  Supplemental  Descriptive  Catalogue  of  Specimens  of  Lace 

acquired  for  the  South  Kensington  Museum  between  June,  1890  and 
June,  1895.    London,  1895,  Eyre  &  Spottiswoode.    48  pages.    B.  M. 

333 —  Cole,  Alan  S. — Studies  from  the  Museums.     Hand-made  Laces  from  the 

South  Kensington  Museum,  London.    R.  Sutton  &  Co.,  1890.    B.  M. 

334 —  Cole,  Alan  S. — Two  Lectures  on  the  Art  of  Lace  -  making.     Dublin,  Alex. 

Thorn  Co.,  1884.    B.  M. 

335 —  Cole,  Alan  S. — A  Word  on  the  Outlook  of  Lace-making  in  Ireland.  The 

Magazine  of  Art,  April,  1888,  London.    V.  11,  p.  202. 

336 —  Cole,  H.  H. — Cat.  of  the  objects  of  Indian  Art  in  the  South  Kensington 

Museum.    Illus.    (Embroidery,  p.  216.)    8vo.    London,  1874.    S.  K.  M. 

337 —  Coles,  Fred  R.,  of  the  Scottish  Museum  of  Antiquities. — Two  articles  in 

The  Reliquary  for  Jan.  and  April,  1899,  on  spindles  and  distaffs. 

338 —  Collection  de  dentelles  an  musee  des  tissus  de  Lyon,  La. — 114  plates. 

Paris,  1909.    En  portefeuille. 

339 —  Collection  de  Dentelles  du  Musee  de  Cluny  a  Paris.     Plauen,  Chr.  Stoll, 

n.d. 

340 —  Collezione  Arrigoni,  La.    Emporium ,  1902,  Bergamo. 

341 —  Collier,  Louis  C,  at  Nottingham — Dessin  pour  rideau  de  dentelle.    Art  ap- 

plique Ire  et  2e  annee,  Paris. 

342 —  Colored  Italian  Patterns  for  Cross-stitch  Work.     23  photographs.  (Col- 

lection of  Kursheedt  Manufacturing  Co.,  N.  Y.) 
343_Colored  Lace.    Review  of  Reviews,  v.  21,  pp.  732-733,  June,  1900. 

344 —  Comment  discerner  les  Styles  enseignes  par  l'lmage — La  Dentelle.  Trans- 

formations progressives,  XVI  et  XVII  siecles.  Paris,  Ed.  Rouveyre,  n.d. 

345 —  Commission  d'Enquete  sur  la  Condition  des  Ouvriers  et  sur  le  Travail  des 

Femmes  et  des  Enfants.    Brussels,  1843. 

346 —  Commission  du  Travail.    Brussels,  1886  and  1887. 

347 —  Conde,  Mme.  de — The  art  of  making  Valenciennes  lace.    London,  1844.  8°. 


270 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


348 —  Contributions  toward  Bibliography.    J.  P.  Briscoe  &  S.  J.  Kirk,  1896. 

349 —  Cook,  C. — Making  of  Macrame  Lace.    Scribner's,  V.  15,  p.  844. 

350 —  Cook,  C. — Making  of  Macrame  Lace.    Living  Age.  V.  112,  p.  541. 

351—  Cook,  M.  E. — History  of  Lace.    P Miser's  Dial.    V.  33,  p.  13. 

352 —  Cork;  School  of  Art — Cat.  of  coll.  of  antique  lace,  by  A.  S.  Cole.  10  plates. 

8vo.    Cork,  1884.    S.  K.  M. 

353 —  Cornaro,  C. — Eevival  of  Burano  Lace.    Century.    V.  1,  p.  333. 

354 —  Cornu,  P. — Le  Concours  de  dessins  de  la  Dentelle  de  France.    Art  et  Dec- 

oration, 1909.    V.  25,  pp.  163-168. 

355 —  Corona  of  Italian  Lace  Work.    (Collection  of  Kursheedt  Mfg.  Co.) 

356 —  Corte,  Armenio. — Libro  de  Mostre  di  Ponti  in  Aere,  Intitolato  Corona  de  la 

Mostre.  Opera  nuoua  et  non  piu  veduta.  Dedication  Alia  Magnifica  et 
illustre  Madonna  Helena  Barozza,  honoratissima  Consorte  del  Clariss.  S. 
Antonio  Zantani,  Conte  &  Caualiero  .  mio  Signore  .  [with  initial  E]. 
mark  of  Vincenzo  Valgrisi  (Venice,  1548-73).  II  fino  del  primo  libro.  4°. 
Cuts.    16  leaves.    V.  &  A.  M. 

357 —  Corte,  Armenio — Libro  del  Mostre  di  Ponti  in  aere,  intitolato  Corona  de 

le  Mostre.  Opera  Nuova  et  non  piu  veduta.  Sans  lieu  ni  date.  In-4° 
oblong.  Dedicace:  Alia  Magnifica  et  illvstre  madonna  Helena  Barozza, 
honoratissima  consorte  del  Clariss.  S.  Antonio  Zantani  Conte  et  Caualiero 
mio  signore.  La  dedicace  est  signee:  Armenio  Corte.  Page  non  cotee. 
Elle  est  blanche  et  au  verso  on  voit  la  marque  d'imprimeur  bien  connue : 
une  lance  tenue  par  deux  mains  et  autour  de  laquelle  sont  enroules  un  ser- 
pent et  une  branche  de  feuillage.  Cette  marque  d'imprimeur  parait  etre 
celle  de  Valgrisius  de  Venise.  On  lit  sur  ce  verso :  II  fine  del  primo  libro. 
Vente  Benedetto  Maglione,  Paris,  1894,  Vente  Piot,  1891. 

358 —  Cortyl,  Eugene — La  Dentelle  a  Bailleul.     Bull,  du  Comite  Flamand  de 

France,  1903. 

359 —  Costenoble,  S.  van — Kostclooze  Nijverheidsschool  voor  het  aanleeren  der 

Mechelsche  Kanterrj.    Marines,  Steursbussers,  n.d. 

360 —  Cotillon — Vieilles  dentelles.    Journal  des  Dames  et  des  Demoiselles.  Jan. 

16,  1899,  Paris-Brussels. 

361 —  Courteix,  F. — Col,  broderie,  et  dentelle.  L' Art  decor atif,  Dec,  1901,  Paris. 

362—  Courteix,  F.— Dentelles.  Col.  L'Art  decoratif,  1903,  Paris. 

363 —  Courteix,  F.  et  Prouvet — Dentelles. L 'A rt  decoratif.    Dec.  1901,  Paris. 

364 —  Courteix,  Fernand — Dentelles.    Art  applique,  Ire  et  2e  annee,  Paris. 

365 —  Cousin,  Jean — Le  livre  de  lingerie,  compose  par  maistre  Dominique  de  Sera, 

Italien,  enseignant  le  noble  et  gen  til  art  de  l'esguille,  pour  besongner  en 
tous  points :  vtile  et  profitable  a  toutes  dames  et  damoyselles,  pour  passer 
le  temps  et  euiter  oysivete.  Nouuellement  augmente  et  enrichi  de  plu- 
sieurs  excelents  &  diuers  patrons,  tant  de  point  coupe,  raiseau,  que  passe- 
ment  de  Pinvention  de  M.  lean  Covsin,  Peintre  a  Paris.  A  Paris,  chez 
Hierosme  de  Marnef  &  la  veufue  de  Guillaume  Cauellat,  au  mont  S.  Hi- 
laire  a  Penseigne  du  Pelican,  1584,  auec  priuilege  du  Eoy.  Ce  titre  est 
inscrit  dans  le  milieu  de  la  page  et  tout  autour  sont  disposees  quatre  gra- 
vures  sur  bois,  dont  la  reunion  forme  encadrement.  Ces  gravures  sont 
.         rectangulaires  et  disposees,  deux  horizontalement  en  haut  et  en  bas  et 


BIBLIOGRAPHY 


271 


deux  verticalement  a  droite  et  a  gauche.  Dans  eelle  qui  est  en  haut,  on 
remarque  au  milieu  une  tete  cornue,  et  des  deux  cotes  de  cette  tete,  deux 
animaux  fantastiques,  tenant  dans  leurs  bras  une  branche  de  feuillage. 
Dans  celle  qui  est  en  bas,  trois  f emmes  travaillant ;  celle  qui  est  au  milieu 
de  la  composition,  travaille  a  un  metier  de  basse  lisse.  Celle  de  gauche  a 
aupres  d'elle  un  petit  enfant,  celle  de  droite  s'occupe  a  un  travail  a  Pai- 
guille.  Les  gravures  verticales  representent  a  droite  un  horn  me  coiffe 
d'une  toque  a  plumes  et  tenant  un  metier  devant  lui,  a  gauche  une  femme 
travaillant  a  un  metier  a  broder  qu'elle  tient  sur  ses  genoux.  Au  verso  de 
ce  titre  on  lit:  l'extrait  du  Privilege  date  du  sept  septembre  1583.  Les 
trois  premiers  feuillets  du  cahier  G,  d'un  gout  excellent,  doivent  seuls,  ce 
nous  semble,  etre  du  dessin  de  Jean  Cousin.  Pour  s'en  assurer  d'une 
maniere  positive,  il  faudrait  avoir  vu  1 'edition  anterieure  de  1583  que  cite 
d'apres  du  Verdier,  M.  Brunet.  (Manuel  du  Libraire,  derniere  edition, 
tome  V,  colonne  300.)  La  marque  de  Jerome  de  Marnef  reproduite 
par  Silvestre  (Marques  typographiques,  n°  812)  se  voit  sur  le  dernier 
feuillet  de  cet  ouvrage,  et  s'il  faut  admettre  comme  le  pretendent  quel- 
ques  auteurs  que  Jean  Cousin  donna  le  dessin  de  plusieurs  marques  de 
libraires,  on  pourrait  compter  au  nombre  de  celles  qu'il  ainventees,  celle- 
ci  qui  est  en  tout  point  digne  d'une  semblable  attribution.  Page  non  cotee. 
Le  recto  contient  quatre  bandes  horizontales.  Celle  du  haut  renferme  des 
oiseaux.  Le  verso  contient  deux  dessins.  Celui  du  bas  presente  les 
lettres  I  H  S  et  M  S  E  F.  Au  bas  de  cette  planche,  dans  l'exemplaire 
de  le  bibliotheque  de  1' Arsenal,,  qui  a  servi  a  la  presente  description,  on 
lit  a  l'encre  d'une  ecriture  de  l'epoque  le  mot  Fin.  Ce  qui  tendrait  a 
faire  croire  qu'il  y  a  eu  des  editions  anterieures  a  celle-ci,  comme  semble 
du  reste  1'indiquer  la  phrase  du  titre:  Nouuellement  augmente  et  en- 
richi,  etc.  .  .  Dans  le  haut  d'une  page  quadrillee,  on  voit  a  gauche, 
un  exemple  ou  par  un  trait  continu  a  la  plume,  on  indique  la  maniere 
d'ebaucher  un  dessin  a  points  comptes.  A  droite  sur  la  meme  feuille 
la  maniere  de  terminer  ce  dessin,  et  de  le  mettre  au  net  en  noircis- 
sant  chacun  des  carreaux  par  ou  a  passe  le  trait  de  plume.  Verso, 
grande  marque  d'imprimeur  que  Ton  peut  hardiment  attribuer  a  Jean 
Cousin,  tant  le  style  en  est  large  et  grandiose.  Au  centre  de  la  composi- 
tion, un  cartouche  ovale  dans  lequel  on  voit  un  pelican  perche  sur  un  tronc 
d'arbre.  Son  sang  s'echappe  d'une  blessure  qu'il  s'est  faite  a  la  poitrine 
avec  son  bee,  et  va  nourrir  trois  de  ses  petits  qui  sont  en  bas  a  ses  pieds. 
Deux  grandes  cariatides,  une  femme  a  droite,  un  satyre  a  gauche,  s  'appui- 
ent  sur  les  cotes  du  cartouche  et  soutiennent  d'un  de  leurs  bras  leve  en 
Pair,  un  motif  en  rinceaux  sur  lequel  sont  assis  deux  petits  enfants  ados- 
ses.  En  bas  deux  autres  enfants  des  deux  cotes  d'un  cartouche,  sur  le- 
quel se  voit  un  mascaron.  Seguin  dans  son  livre  sur  la  dentelle  dit  .  .  . 
notre  grand  peintre  Jean  Cousin  a  enrichi  le  recueil  de  l'ltalien  Domin- 
ique de  Sera,  publie  a  pen  pres  en  1584,  de  plusieurs  planches  de  patrons 
de  dentelles  a  1 'aiguille  de  son  invention. . .  Nous  ne  pouvons,  dit  M.  Dup- 
lessis  dans  le  tome  9,  du  peintre  graveur  frangais  (Continuation  faite  par 
lui  de  P ouvrage  de  Eobert  Dumesnil)  mettre  au  nombre  des  ouvrages 


272 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


composes  entierement  par  Jean  Cousin,  le  volume  suivant,  dont  M.  de  Mon- 
taiglon  nous  a  revele  l'existence  (Archives  de  Part  Francais,  documents, 
tome  V,  page  356)  et  que  nous  avons  vu  nous-meme  a  la  Bibliotheque  de 
1 'Arsenal. 

366 —  Cox,  Eaymond — La  Collection  de  Dentelles  Jose  Pasco.    Revue  de  VArt 

ancien  et  Moderne.    V.  24,  pp.  373-386,  Paris,  1908. 

367 —  Cox,  Eaymond — Les  Dentelles  precieuses.    Revue  de  VArt,  1903.    V.  14, 

pp.  141-161. 

368 —  Cox,  Eaymond — Le  Musee  Historique  des  Tissus  de  Lyons.    Lyons,  1902. 

369 —  Crane,  Josepha — Broderie,  dentelle.    The  Lady's  Realm,  July,  1898,  Lon- 

don. 

370 —  Crawford,  E.  W. — Original  Hand- made  Lace.    Harper's  Bazaar,    V.  37, 

pp.  676-678,  July,  1903. 

371 —  Cronback,  E. — Die  osterreichische  Spitzenhausindustrie.     211    pp.  1907. 

Wiener  staatswissenschaftliche  Studien,  Bd.  7,  Hft.  1. 

372 —  Curtis,  E.  A. — Needlework:  Schedule  III.  exemplified  and  illustrated  for 

teachers,  and  upper  Standards  in  Schools.  30  Diagrams.  12mo.  Lond., 
1879.    S.  K.  M. 

373 —  Cushion  Lace,  How  Invented.    Sharpe.    V.  40,  p.  156. 

374 —  Cushion  Lace,  How  Invented.    Eclectic  Magazine.    V.  52,  p.  267. 

375 —  Cushion  Lace,  How  Invented.    Godey.    V.  63,  p.  25. 

376 —  Cushion  Lace,  How  Invented.    Chamber's  Journal.    V.  34,  p.  332. 

 D  

377—  D.,  M.  A.  W.— Old  Lace.  Once  a  Week,  March,  1865,  London. 

378 —  Daimeries,  Mme. — La  Dentelle  en  Belgique.    Extr.   Manuel  sur  le  travail 

de  la  femme.  Exposition  de  Chicago,  1893.  Brussels,  Impr.  A.  Lesigne, 
n.  d. 

379 —  Daimeries,  Mme. — La  Dentelle  de  Bruxelles.    Extr.  Annales  de  la  Societe 

d'archeologie  de  Bruxelles,  1892.  Brussels,  1892. 

380 —  D'Alcq — Album  d'ouvrage  de  fantaisie  des  modes  de  saisons.  Broderies 

Tapisseries,  marqueterie  de  paille  et  de  bois,  Peinture  sur  bois  et  sur 
verre.  Application  Orientales,  etc.  26  planches  colories,  representant 
environ  200  objets  differents  avec  25  notices  descriptives.  En  portefeuille 
in.  4°. 

381 —  D  'Alcq — Traite  de  la  dentelle  au  Puseau — Dentelles  de  Mirecourt,  Valen- 

ciennes, Malines,  Flandres,  Bruxelles,  Venise,  dentelle  cousue.  Illustree 
de  112  gravures  sur  bois. 

382 —  Danieli,  Bartolomeo — Piore  pretioso  d'ogni  virtue.  Per  le  nobili  et  honeste 

donne  con  li  disegni  di  recami  sul  velo  la  prima  volta  dati  in  luce  Da  Bar- 
tolomeo Danielli  In  Siena,  MDCX.  4°.  2  pp.,  11  engravings.  Eegistro 
A,  a,  b,  c.    B.  K.  M. 

383 —  Danieli,  Bartlomeo — Libro  di  diver  si  disegni  per  Colari,  Punti  per  Faz- 

zoletti  et  Eeticella  di  varie  sorti  fatto  da  Bartolomeo  Danieli  Eecamatore. 
Sans  date.  In-4°  .oblong.  Ce  titre  est  inscrit  sur  une  coquille  posee  sur 
un  culot  de  feuillage,  entoure  a  droite  et  a  gauche  de  deux  rinceaux  de 
feuillages  entremele  de  branches  de  chene  garnies  de  leurs  glands.  En  bas 


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273 


de  la  planclie  a  la  pointe  a  gauche :  Agost°.  Parisini  Forma  in  Bologna. 
Gravures  sur  cuivre  tirees  au  recto  seulement  et  portant  toutes  en  bas  a  la 
pointe  soit  a  droite,  soit  an  milieu  de  la  planche,  la  signature :  Bartolomeo 
Danieli  F.  Eien  au  verso.  23  planches  de  broderies.  Les  pages  n'ont 
aucune  cote.  En  resume  24  feuillets  dont  23  planches  de  broderies  repre- 
sentant  des  guipures  et  des  modeles  de  dentelles.  Vente  Pirovano,  Eome, 
1901.   Vente  Destailleurs,  1895.    Half  bound.   Ellis,  London,  1918. 

384 —  Danieli,  Bartolomeo — Libro  di  Diversi  Disegni  per  Colari,  Punti  per  fazzo- 

letti,  &  Eeticelle  di  varie  sorti.  Fatto  Bartolomeo  Danieli  Eecamatore. 
Agost°.  Parisini  forma  in  Bologna,  [n.d.]  4°.  Title  and  22  plates,  en- 
graved. V.  &  A.  M. 

385 —  Danieli,  Bartholomeo — Danieli  Bartholomeo  Eecamatore  libro  di  diversi 

disegni  per  Collari,  punti  per  Fazzoletti  et  Eiticelle  divarie  sorte.  .Agostino 
Parisini  forma  in  Bologna.  15  leaves  obi.  8vo,  entirely  engraved  au  burin, 
towards  the  end  of  the  sixteenth  century.  Milan.  Bib.  Marquis  Giro- 
lamo  d'adda. 

386 —  Danieli,  Bartholomeo — Operetta  d'intagliati  lauori.    In  Bologna,  August. 

Parisini  et  Gio.  Batt.  Negroponte  forma,  1639. 

387 —  Danieli,  Bartholomeo — Vari  disegni  di  Merletti  inuentati  e  tagliati  da  Bar- 

tolomeo Danieli  e  dedicati  all'  Illma  Sigra  la  sigra  Barbera  Eangona 
Mariscotta.  Ce  titre  est  au  milieu  d'un  ovale  entoure  de  rinceaux  et  de 
fleurs  au  haut  duquel  on  voit  des  armoiries  surmontees  d'une  icoup:onne. 
Le  tout  est  entoure  d'un  trait  car  re  et  de  trois  filets.  Dans  les  encognures 
de  ce  rectangle  oblong  on  voit  de  petits  motifs  rectangulaires  formes  ega- 
lement  de  rinceaux  et  de  fleurs.  Au  bas  de  1* ovale  central  on  lit:  Agos- 
tino Parisini  e.  Gio.  Battista  Negroponte  form,  in  Bologna,  1641.  In-folio 
oblong,  entierement  grave  sur  cuivre.  Dedicace,  All.  Illmio  sig.  Tomaso 
Cospi.  Puis  5  lignes  de  texte  finissant  par  les  mots :  e  dedica  Bartolomeo 
Danieli  Bolognese.  Cette  dedicace  est  entouree  d'un  cadre  rectangulaire 
en  broderies,  dont  la  bordure  est  decoupee  en  dents  de  lambrequin.  En 
haut  au  milieu  de  cet  encadrement  un  ecusson  surmonte  d'un  casque  avec 
rinceaux  entourant  1'ecusson.  En  bas  de  la  page  a  droite  :  In  Bologna, 
1639.  Agont°.  Parisini  e.  Gio.  Batta  Negroponte  forma.  Puis  12  planches 
de  broderies  imprimees  seulement  au  recto  et  portant  toutes  au  bas  dans 
1 'angle  gauche:  Bartolomeo  Danieli  F.  Les  ouvrages  de  dentelles  de 
Danieli  sont  peu  connus.  Les  des  sins  de  cet  artiste  sont  de  la  plus  grande 
richesse.  Les  planches  sont  de  grandes  dimensions  et  ne  mesurent  pas 
moins  de  30  cent,  de  large  sur  19  de  hauteur.  Les  12  planches  represen- 
ted 12  coins  de  mouchoirs  ou  de  nappes  en  dentelles  et  guipures  et  7  orne- 
ments  divers.  Vente  Pirovano,  Eome,  1901.  Vente  Destailleurs,  1895.  14 
engravings.   B.  K.  M. 

388—  Danish  Embroidery.    Delineator,  V.  63,  p.  473,  March,  1904. 

389 —  Davy  doff,  or  Davindova.  S. — La  Den  telle  Eusse.    Histoire,  technique,  sta- 

tistique.  Translated  from  the  Eussian  under  the  author's  direction.  80 
plates,  folio.   Leipzig,  Karl  W.  Hiersemann,  1895.   B.  M. 

390 —  DavydofT  or  Davuidova,  S.  A. — Pycckoe  Kypkebo.     Yeopbi  N.  Ckoakn. 

pp.  7.  pi.  50,  1909.   Fol.  &  8°. 


274 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


391—  Day,  L.  F.  and  Buckle,  M.— Art  in  Needlework.  Nation,  V.  71,  pp.  234-235, 

September  20,  1900. 

392 —  Day,  Lewis  F.  and  Buckle,  Mary — Art  in  Needlework.    New  York,  Scrib- 

ner's,  1908. 

393 —  Dean,  Samuel  Bridge — The  Anna  Dike  Scott  Collection  of  Old  Lace.  Bos- 

ton, April,  1905. 

394 —  De-Chagrin,  K. — Modeles  pour  la  broderie  au  plumetis.   64  plates,  4to.  St. 

Petersburg,  1890. 

395 —  Decline  in  the  Calais  Lace  Trade,  The — Board  of  Trade  Journal,  May, 

1893,  London. 

396 —  Dedekam,  Hans — Norske  folkebrodier.   50  plates,  $28.00.   Albert  Bonnier 

Publishing  House. 

397 —  De  Greef,  Guillaume — L'ouvriere  dentelliere  en  Belgique.    Brussels,  1870. 

398 —  De  Haerne,  Mgr. — Discours  pronon  ce  a  la  Chambre  des  Eepresentants,  le 

2  avril,  1884. 

399 —  Dehowe,  E. — Documents  pour  Broderies,  Dentelles.    St.  Quentin,  E.  De- 

howe,  1908. 

400 —  Dengler,    G. — Kirchenschmuch.     Neue  Folge.    Sammlung  von  Vollagen 

fur  kirchliche  Stickerien,  etc.  (Text  in  German,  French  and  English.) 
Obi.  fol.  Amberg,  1873.  S.  K.  M. 

401 —  Denicourt,  Leon,  at  Caudry — Projets  pour  col  et  mouchoir  en  dentelle.  Art 

applique.   2e  annee,  Paris. 

402—  Denk— Denk's  Kreuzstich-Monogramme.  Obi.  8vo.  Wien,  (1885).  S.  K.  M. 

403 —  Dentelle  aux  fuseaux,  La.   Journal  des  Dames  et  des  Demoiselles,  March  1, 

1900,  Brussels. 

404 —  Dentelle,   La. — Histoire,    description,  fabrication,  bibliographic,  ornee  de 

cinquante  planches  photo-typographiques.  Fac-simile  de  dentelles  de 
toutes  les  epoques;  passements  aux  fuseaux,  points  coupes  a  1 'aiguille, 
points  de  Venise,  de  Genes,  de  France,  guipures,  Valenciennes,  Malines, 
points  d'Alencon,  de  Sedan,  de  Bruxelles,  d'  Angleterre,  blondes,  Chan- 
tilly,  etc.  Et  de  nombreuses  gravures  d'apres  les  meilleurs  maitres  des 
XVIe  et  XVIIe  siecles.   Paris,  Eothschild,  1875.  4to. 

405 —  Dentelle  Irlandaise  et  des  jours  a  raiguille   (point  d'Alengon) — (woodcut 

illus.  of  materials,  stitches,  and  designs.)    8vo.   Paris,  n.d.   S.  K.  M. 

406 —  Dentelle,  La — (magazine).  Paris. 

407 —  Dentelle,  La — Mustergultige  Spitz  en  aus  Deutschland,  Frankreich  und  Ital- 

ien  vom  16  and  17.  Jahrhundert.  500  Aufnahmen  in  Mappe.  80  Tafeln. 
From  the  catalogue  of  Karl  W.  Hiersemann,  Leipzig. 

408 —  Dentelle  a  la  main  et  la  loi  Engerand,  Lsi—Musee  Social,  Feb.,  1904,  Paris. 

409 —  Dentelles  a  Paiguille  et  au  fuseau  en  Points  d'Angleterre  et  d'Irlande,  exe- 

cutes dans  les  Couvente,  etc.,  d'apres  les  originaux  conserves  au  South 
Kensington  Museum  a  Londres.   Paris,  A.  Calavas,  1892. 

410 —  Dentelles  anciennes  de  la  ville  de  Geneve.    Album  with  36  plates. 

411 —  Dentelles  anciennes,  vieux  Venice,  guipures,  Alencon,  Malines,  Argentan. 

Avec  52  figures  sur  3  planches,  folio.  Paris,  n.d.  From  the  catalogue 
of  Karl  W.  Hiersemann,  Leipzig. 


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275 


412 —  Dentelies  aneiennes  en  genre  venise  en  ce  moment  a  Rome.    25  plates. 

Folio.   Paris,  1891. 

413 —  Dentelies  de  Belgiqne,  Les — Album  with  32  plates.  Ch.  Massin,  Paris. 

414 —  Dentelle  du  Havre — Intermediaire  des  Chercheurs  et  Curieux,  1896. 

415 —  Dentelies  du  Musee  de  Cluny  in  Paris.    20  plates.    Containing  many  ex- 

amples of  old  and  real  hand-made  laces.  Patterns  from  the  collection  in 
the  Musee  de  Cluny.   Edinburgh,  n.d.,  folio. 

416 —  Dentelies  du  Musee  Galliera.    I  album  with  36  plates. 

417 —  Dentelies  et  Broderies — LeMarche  alimentaire,  Sept.  11,  1904,  Brussels. 

418 —  Dentelies  et  Guipures.   30  plates,  P.  Claesen,  1884.    (Collection  of  Kur- 

sheedt  Manufacturing  Co.,  N.  Y.) 

419 —  Dentelle,  La — Journal  de  la  dentelle  a  la  main.   Mensuel.   Paris,  1903-05. 

420 —  Dentelies,  Les — Journal  des  Demoiselles,  1843,  Brussels. 

421 —  Dentelle  Renaissance,  La — La  Femme  chez  elle,  Aug.  15,  1899,  Paris. 

422 —  Dentellieres  et  Dentelies  de  Venise.    Le  Vie  Heureuse,  August,  1903,  Paris. 

423 —  Dentellieres  Malgaches.    Le  Matin,  June  26,  1905,  Paris. 

424 —  De  Ridder,  M.  R. — De  l'enseignement  professionnel  dans  ses  rapports  avec 

Penseignement  primaire  en  Belgique.  Brussels,  1883. 

425—  Derode— Histoire  de  Lille,  1848. 

426 —  Descriptive  Catalogue  of  the  Collections  of  Lace  in  the  Victoria  and  Albert 

Museum,  1881. 

427 —  Design  Piracy — Co-operation  needed  for  prevention,  letter  by  Vivian  Bur- 

nett, N.  Y.  Times,  May  12,  8:7;  letter  from  S.  Lubarsky  urges  protec- 
tion of  lace  designs,  N.  Y.  Times,  May  13,  10 :5 ;  European  manufacturers 
guilty  according  to  H.  M.  Heston,  N.  Y.  Times >  May  16,  14 :3. 

428 —  Designs — 200  drawings  for  lace  of  various  and  elegant  patterns.    E.  P. 

Dutton  &  Co.,  New  York. 

429 —  Designs  for  Lace  and  Embroidery,  in  chalks  and  pencil.  Bound  in  Volume. 

Fol.   S.  KM. 

430—  Designs  for  Needlework.    Craftsman,  V.  13,  pp.  226-228,  November,  1907. 

431 —  Designing  in  Cross-stitch.    International  Studio,  V.  46,  pp.  79-81,  March, 

1912. 

432 —  Despierres,  G. — Origine  du  poin  d'Alengon.  Alengon,  1882. 

433 —  Desperres,   Madme.    G. — Histoire  du  Point  d'Alencon  depuis  son  origine 

jusqu  'a  nos  jours.  (Plates  and  Vignettes.)  8vo.  Paris,  1886,  H.  Laurens. 
S.K.M.  B.  M. 

434 —  Dessins  Ornementaux  dans  les  styles  Louis  XVI  et  Empire  applicables  a 

la  peinture  decorative  et  a  l'ornementation  des  tissus.  Nouvelles  com- 
positions par  H.  Frilling.  Paris,  n.d.  One  vol.,  folio,  original  boards  in 
portfolio.    32  plates  of  textile  ornamentation. 

435 —  Destree — Tapisserie  et  Sculpture  Bruxelloise  a  1 'exposition  d'art  ancien  a 

Bruxelles,  organisee  a  Bruxelles,  au  cercle  artistique  et  litteraire  de  Juil- 
let  a  Octobre,  1905.  Un  volume  in-folio  de  95  pages  de  texte  descriptif 
avec  figures  de  marques  et  monogrammes  et  50  superbes  planches  en  pho- 
totypie  coloriee.    Publie  a  400  exemplaires. 

436 —  Devonia — Honiton  Lace-making.    London,  1874.  8vo. 

437 —  Devonshire,  or  Honiton  Lace.  28  pp.  London,  1889.  8vo.  B.  M. 


276 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


438 —  De  Winne,  Aug. — L 'Industrie  Dentelliere.    Les  Ouvriers  dentelliers.  Le 

Peuple,  May  8,  1903,  Brussels. 

439 —  Dicks,  Thos. — Is  Seal  Lace  a  Luxury?     The  Home  Woman,  December, 

1917,  Toledo,  Ohio. 

440 —  Dictionnaire  du  Citoyen.    Paris,  1761. 

441 —  Didron,  Ed. — Septieme  Exposition  de  1 'Union  centrale  des  Arts  decoratifs, 

1882.  Rapport  sur  le  2e  groupe :  Tapisseries,  Tissus,  Broderies  et  Den- 
telles.   Paris,  A.  Quantin,  n.d. 

442 —  Dierolf,  G. — La  Dentelle  francaise.  A  propos  de  1 'Exposition  du  Musee 

Galliera.  Le  Gaulois,  April,  1904.  Paris. 

443 —  Dietrich,  Bernhard — Die  Spitzenindustrie  in  Belgien  und  Frankreich  zu 

Ende  des  XlXn  Jahrhunderts. 

444 —  Dietrich,  Frl.  K. — Tauftuch  in  Leinenstickerei.    Zeitschr.  des  Kunst-gew. 

— Vereins  in  Munchen,  1883. 

445 —  Dillmont,  Th.  de — Album  de  broderies  au  point  de  croix.  Vol.  1,  32  plates ; 

Vol.  2,  40  plates.  P.  Dollfus-Meig.  (Collection  of  Kursheedt  Manufac- 
turing Co.,  N.  Y.)    1886.    S.  K.  M. 

446 —  Dillmont,  Therese  de — Album  de  broderies  au  point  de  croix.    3  series, 

1897,  Mulhouse.  Each  series  consists  of  text  and  plates  in  a  portfolio. 
Soc.  Anon,  d 'Industrie  Textile. 

447 —  Dillmont,  Th.  de — Album  of  Cross-stitch  Embroidery.    52  plates.    T.  de 

Dillmont.    (Collection  of  Kursheedt  Manufacturing  Co.,  N.  Y.) 

448 —  Dillmont,  Therese  de — Alphabet  de  la  brodeuse,  lettres,  chiffres,  mono- 

grammes  et  ornements  a  points  comptes  suivis  d'une  serie  de  modeles 
avec  caiques  pour  broderie  de  blanc:  92  plates.  Dornach,  1898,  Soc. 
Anon,  d 'Industrie  Textile. 

449 —  Dillmont,  Therese  de — Alphabets  et  monogrammes,  with  supplement:  60 

plates.   Dornach,  Pub.  by  Th.  de  Dillmont,  1897. 

450 —  Dillmont,  Therese  de — L'art  chretien  en  Egypte.    Motifs  de  broderie  copte. 

2  parts,  30  plates.   Dornach,  Pub.  by  Th.  de  Dillmont,  1897. 

451 —  Dilmont,  Therese  de — La  broderie  Sur  lacis.  2  series,  20  plates.  Dornach, 

Pub.  by  Th.  de  Dillmont,  .1897,  (in  two  portfolios). 

452 —  Dillmont,  Therese  de — La  broderie  au  passe.    20  tracings  in  a  portfolio. 

Dornach,  Pub.  by  Th.  de  Dillmont,  1897. 

453 —  Dillmont,  Therese  de — Le  crochet.    Dornach,  1897,  Pub.  by  Th.  de  Dill- 

mont. 

454 —  Dillmont,  Therese  de — La  Dentelle  Renaissance.   Mulhouse,  Pub.  by  Th.  de 

Dillmont,  n.d. 

455 —  Dillmont,  Therese  de — Encyclopedia  of  Needlework.   Mulhouse,  1907.  New 

Edition.  Pub.  by  Th.  de  Dillmont  (D.  M.  C.  Library). 

456 —  Dillmont,  Therese  de — Encyclopedia  of  Needlework.    Dornach,.  1890,  Pub. 

by  Th.  de  Dillmont. 

457 —  Dillmont,  Therese  de^ — Encyclopedic  des  ouvrages  de  dames.    Paris,  Ch. 

Delagrave,  n.d. 

458—  Dillmont,  Therese  de— La  Filet  Eichelieu.    Dornach,  1897,  Pub.  by  Th.  de 

Dillmont. 


BIBLIOGRAPHY 


211 


459—  Dillmont,  Therese  de— Filet  Richelieu.  Mulhouse,  Pub.  by  Th.  de  Dillmont, 

n.d. 

460—  Dillmont,  Th.  de— 20  plates  of  Cross-stitch  Embroidery.    Series  1  &  2. 

(Collection  of  Kursheedt  Manufacturing  Co.,  New  York.) 

461 —  Dillmont,  Th.  de — Recueil  d'  ouvrages  divers  avec  les  fils  et  le  coton,  D.M.C. 

T.  Dillmont.    (Collection  of  Kursheedt  Mfg.  Co.) 

462 —  Dilmont,  Therese  de — La  soutache  et  son  emploi.    Mulhouse,  Soc.  Anon. 

d 'Industrie  Textile. 

463 —  Dilmont,  Therese  de — Verlagen  fur  Stickereien.    (Bibliothek  D.M.C.  Doll- 

fus-Meig  &  Co.)    Series  2-5.   Mulhouse,  1900-1908. 

464—  D'lvoy,  P. — L 'Art  Industriel,  la  Dentelle.     "L 'Artiste,"     6th  Series, 

Vol.  I.,  p.  66.   4to.   Paris,  1857.    S.  K.  M. 

465 —  Documentary  Post  Cards — 400  cards  of  the  Museum  of  Decorative  Art  of 

Paris.    Sloog,  New  York. 

466 —  Documentary  Post  Cards — 200  cards  of  lace  specimens.   Sloog,  New  York. 

467 —  Document  du  Decorateur,  Le — Receuil  de  Modeles  pouvant  etre  copies  ou 

interpreted.  Peinture  decorative,  Tissus,  etc.  Paris,  n.d.  3  vols.,  2  folio, 
one  4to,  original  boards,  in  portfolio.  108  plates  of  drawings  for  crafts- 
men.  Sloog,  New  York. 

468 —  Documents  et  decorations  moderne.    Modeles  de  tissus.    Tapis,  etoffes  de 

tentures,  broderies,  dentelles  d'apres  les  compositions  de  Bacard,  Pren- 
chais,  Benedictus,  etc.   Un  recueil  in  4°  de  30  planches  en  couleurs. 

469 —  Documents  pour  dessins  de  tissus.    Series  I,  19  plates,  folio.    Paris,  1894. 

Series  Gr,  20  plates.    Series  M,  20  plates. 

470 —  Dodd,  A.  B. — Royal  School  of  Embroideries  in  Athens.    Century,  V.  72, 

pp.  120-126,  May,  1906. 

471—  Dooley,  W.  H. — Knitting  by  Machinery.   Textiles,  141-9. 

472—  Dooley,  W.  H.— Lace  terms  defined.   Textiles,  150-7. 

473 —  Douat,  pere  Dominique — Methode  pour  faire  une  infinite  de  desseins  dif- 

ferens  avec  des  carreaux,  mi  partis  de  deux  couleurs  par  une  ligne  diago- 
nale,  ou  observations  du  pere  Dominique  Douat  religieux,  carme  de  la 
Province  de  Toulouse,  sur  un  memoire  insere  dans  l'histoire  de  l'aca- 
demie  Royale  des  sciences  de  Paris,  l'annee  1704,  presente  par  le  Reverend 
pere  Sebastien  Truchet,  Religieux  du  meme  ordre,  ancien  Honoraire.  A 
Paris  chez  Florentin  de  Laulne  rue  Saint  Jacques,  Claude  Jombert  rue 
Saint  Jacques,  Andre  Cailleau  a  la  place  Sorbonne,  MDCCXXII  (1722). 
In-4°.  L'ouvrage  va  de  la  page  1  a  la  page  189.  II  se  termine  au  recto 
de  cette  189°  page  au  bas  de  laquelle  on  lit:  De  l'Imprimerie  de  Jacques 
Quillau,  Rue  Gralande,  1722.  Ce  recueil  contient  des  instructions  a  1 'usage 
des  architectes,  peintres,  brodeurs  de  tons  ceux  qui  se  servent  de  1 'aiguille 
et  autres.    Bibliotheque  de  L 'Arsenal. 

474 —  Douglas,  Mrs. — The  Imperial  Macrame  Lace  Book.  Illustrations  and  In- 

structions: three  series,  4to.    London,  (1879).    S.  K.  M. 

475 —  Doumert,  A. — La  Dentelle.   Origin  es.     Histoire.     Lieux   de  production. 

Paris,  Licene,  Oudin  et  Cie.    (1886).  B.  M. 

476 —  Drahan,  E. — K.  K.  Oesterr.    Museum  Stickmuster    .    .    .    mit  Beniit- 

zung  der  besten  Vorbilder  entworfen  von  E  D.  8vo.  Wien,  1873.  S.  K.  M. 


278  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

477 —  Dreger,  Dr.  Moriz — Die  Entwicklung  der  Spitze.  Westermanns  Illustrierte 

Deutsche  Monatshefte,  Novembre,  1901,  Brunswick. 

478 —  Dreger,  Dr.  Moritz — Entwicklungs-geschichte  der  Spitze  mit  besonderer 

Eiicksicht  auf  die  Spitzen-Sammlung  des  K.  K.  Oesterichischen  Museum 
fur  Kunst  und  Industrie  in  Wien.    Wien,  1900.  8°. 

479 —  Dreger,  Moritz — Entwicklungs  Geschicte  der  Spitze.    V.  1-2,  Vienna.  A. 

Schroll  &  Co.,  1901.  Contains  some  patterns  from  Pattern-book  by  "B. 
M."  published  by  Christoff  Froschower. 

480 —  Dreger,  Dr.  Moriz — Kunstlerische  Entwickelung  der  Weberei  und  Stick- 

er ei.   Vienna,  K.  K.  Hof  und  Staatsdruckerei,  1904. 

481 —  Dreger,  Moriz — Ornamentale  und  Kunstgewerbliche  Sammelinappe.  Serie 

IX,  Die  Wiener  Spitzenausstellung,  1906,  in  zwei  tielen. 

482 —  Dreger,  Moriz — Die  Spitzenausstellung  in  Ostreichischer  Museum.  Kunst 

und  Kunsthandwerk,  1906.    V.  9,  pp.  366-426. 

483 —  Dreger,  Dr.  Moriz — Die  Textilausstellung   des   Leipziger  Kunstgewerbe- 

museums.   Kunst  und  Kunsthandwerk,  Vienna,  1902. 

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487 —  Dryden,  Miss  Alice — Les  Dentelles  de  Honiton.    Revue  des  Revues.  De- 

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488—  Dryden,  Alice— Flemish  Lace.   Pall  Mall  Magazine,  V.  23,  p.  91. 

489 —  Dryden,  Miss  Alice — Honiton  Lace. 

490 —  Dryden,  Alice — Honiton  Lace,  History  of  its  Manufacture.  Pall  Mall  Mag- 

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491 —  Dryden,  Miss  Alice — The  Lace  of  Flanders.    Pall  Mall  Magazine,  Jan- 

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492 —  Dryden,  Miss  Alice — Pillow  Lace  in  the  Midlands.    Pall  Mall  Magazine, 

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493—  Dublin  Exhib,  1865— Illus.  Cat.  of  the  Dublin  International  Exhib.  of  1865. 

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sono  varii  et  diversi  disegni  di  lavori,  Come  merli,  Bauari,  Manichetti, 
et  altre  sorte  di  opere  che  al  presente  sono  in  vsu  utilissimo  ad  ogni  stato 
di  donne.  In  Fiorenza  ad  instanza  di  Mattheo  Florimi.  1596.  Petit  in  4° 
oblong.  Vente  Yemenitz.  24  plates  and  2  leaves  of  text.  Bibliotheque 
Nationale.  i 

588 —  Florimi,  Matteo — Fiori  di  Eicami  nvovamente  posti  in  luce.    Ne  i  quali 

sono  varii,  et  diversi  disegni  di  lavori.  Come  Merli,  Bauari,  Manichetti, 
&  altre  sorte  diopere,  che  al  presente  sono  in  vso,  vtilissimi  ad  ogni  stato 


284 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


di  Donne.  In  Siena,  Appresso  Matteo  Florimi,  1603.  4to.  obi.  24  plates 
representing  lace.    Collection  Count  Manzoni,  Turin. 

589 —  Florimi,  Mattheo — Fiori  di  Eicami  nuouamente  posti  in  luce.    Ne  i  quali 

sono  varie  et  diversi  disegni  di  lavori.  Come  merli,  Bavari,  Manichetti, 
et  altre  sorte  di  opere,  che  al  presente  sono  in  usu  utilissimo  ad  ogni 
stato  di  Donne.  In  Siena,  appresso  Matteo  Florimi.  1604.  In-4°  oblong. 
Ce  titre  est  renferme  dans  une  petite  bordure  de  nielles  graves  sur  bois. 
Eien  au  verso.  Page  non  cotee.  Dedicace,  Alle  gentillissime  et  virtuo- 
sissime  Donne.  Matteo  Florimi.  Eien  au  verso.  Puis  commencent  les 
broderies.  18  pages,  contenant  des  broderies,  guipures  ou  dentelles.  En 
resume  20  feuillets  dont  18  de  planches  de  broderies.   Vente  Destailleurs. 

590—  Florimi,  Mattheo — Gioiello  della  Corona  per  le  nobili  e  virtvose  Donne,  Nel 

quale  si  dimostra  altri  nuovi  bellissimi  dissegni  de  tutte  le  sorte  di  mostre 
di  Punti  in  aria,  Punti  tagliati  et  Punti  a  Eeticello;  Cosi  per  Freggi, 
come  per  Merli  et  Eosette  che  con  l'aco  si  usano  hoggidi  per  tutta 
Europa.  Et  molte  delle  quali  mostre  possono  servire  ancora  per  opere  a 
Mazette.  Novamente  posto  in  luce  con  molte  bellissime  inventioni  non 
mai  piu  usate,  ne  vedute.  In  Perugia  apresso  Pietro  Paolo  Orlando,  1594. 
Ad  instantia  di  Matteo  Florimi.  In-4°  oblong.  Ce  titre  est  renferme  dans 
une  petite  bordure  de  nielles  graves  sur  bois.  Dedicace  alia  virtuosissima 
et  ingegniosissima  Donne  Matteo  Florimi.  37  pages  contenant  des  bro- 
deries, des  guipures  ou  dentelles  au  recto  des  pages.  Ces  planches  sont 
pour  la  plupart  tirees  de  la  Corona  de  Vecellio,  surtout  des  3e  et  4e 
parties.  On  trouve  meme  parmi  ces  modeles  l'embleme  du  Eenard  et  de 
la  beaute,  et  la  figure  de  Vesta.  En  resume,  39  feuillets  dont  37  de  bro- 
deries. Vente  Destailleurs,  1895.  Une  edition  de  1596.  Vente  Pirovano, 
Eome,  1901. 

591 —  Florini,  M. — Grioiello  della  Corona  per  le  nobili,  e  virtuose  donne.  Nel 

quale  si  dimostra  altri  nuoui  bellissimi  dissegni  di  tutte  le  sorte  di  mos- 
tre di  Punti  in  Aria,  Punti  tagliati,  &  Punti  a  Eeticello,  cosi  per  Fregi, 
come  per  Merli,  &  Eosette,  che  con  PAco  si  vsano  hoggidi  per  tutta 
Europa.  Et  molte  delle  quali  mostre  possono  seruire  ancora  per  Opere 
a  Mazzette,  Nouamente  posto  in  luce  con  molte  bellissime  inuentioni  non 
mai  piu  vsare,  ne  vedute.  In  Fiorenza,  Appresso  Francesco  Tosi. 
MDXCVI.  Ad  instantia  di  Matteo  Florini.  4°.  Title,  dedication,  30 
leaves,  cuts.   V.  &  A.  M. 

592 —  Florimi,  Matteo — Grioiello  della  corona  per  le  nobili  e  virtvose  donne,  Nel 

quale  si  dimostra  altri  nuovi  bellissimi  dessigni  di  tutte  le  sorte  di  Mostre 
di  Punti  in  aria,  Punti  tagliati,  et  Punti  a  reticello,  cosi  per  Fregi  come 
per  Merli  et  Eosette,  che  con  l'aco  si  usano  hoggidi  per  tutta  PEuropa. 
Et  molte  delle  quali  mostre  possono  servire  ancora  per  opere  a  Mazzette. 
Nuovamente  posto  in  luce  con  molte  bellissime  inventioni  non  mai  piu 
usate  ne  vedute.  In  Siena  appresso  Matteo  Florimi,  MDCIII  (1603).  In- 
4°  oblong.  48  planches  gravees  sur  bois.  2ff.  titre  et  dedicace.  Dans 
la  preface  on  parle  d 'editions  anterieures  donnees  par  le  meme  editeur 
et  on  y  trouve  le  passage  suivant:  Non  vi  dovete  maravigliare  sio  di  nuovo 
mando  fuori  altre  foggie  di  lavori    .    .    .    di  numero  et  di  vaghezza 


BIBLIOGRAPHY 


285 


siiperiore  a  quelle  clie  da  me  fur  one  raccolte  l'anno  passato  .  .  .  II 
y  aurait  done  eu  de  cet  ouvrage  une  edition  de  Florimi  en  1602.  Brus- 
sels, Bib.  Eoyale. 

593 —  Florimi,  Matteo — Gioiello  della  Corona  per  le  nobili  e  virtuose  Donne.  Nel 
quale  si  Dimostra  altri  nuovi  bellissimi  dessigni  di  tutte  le  sorte  di  Mostre 

di  Punti  in  aria,  Punti  tagliati  et  Punti  a  Eeticello,  Co  si  per  Freggi  come 
per  Merli  et  Eosette,  che  con  l'aco  si  usano  hoggidi  per  tutta  Europa,  Et 
molte  delle  quali  Mostre  possona  servire  ancora  per  opere  a  Mazette.  Nuo- 
vamente  posto  in  luce  con  molte  bellissime  inventioni  non  mai  piu  usate, 
ne  vedute.  In  Siena  appresso  Matteo  Florimi,  MDCIIII  (1604).  In-8° 
oblong.  Ce  titre  est  enferme  dans  une  petite  gravure  de  nielles  formant 
bordure.  Dedicace:  Alle  virtuosissime  et  ingeniosissime  Donne  Matteo 
Florimi.  32  pages,  contenant  des  broderies,  guipures  ou  dentelles,  im- 
primees  seulement  au  recto  des  pages.  Ces  planches  sont  pour  la  plupart 
tirees  de  la  Corona  de  Vecellio  mais  sont  differentes  de  celles  contenues 
dans  le  volume  de  ce  meme  ouvrage  et  paru  a  Perouse  en  1594.  En  resume 
34  feuillets  dont  32  de  broderies.    Vente  Destailleurs. 

594 —  Florimi,  Matteo — Gioiello  Delia  Corona  Per  le  Nobili,  E  Virtuose  Donne 

.  .  .  tagliati,  &  Punti  a  Eeticello,  cosi  per  Fregi,  come  per  Merli,  & 
Eosette,  che  con  l'Aco  si  vsaro  hoggidi  per  tutta  Europa.  Et  molte  delle 
quali  Mostre  possono  seruire.  Ancona  per  opere  a  Mazzette.  Nouamente 
poste  in  luce  con  molte  bellissime  inuentioni  non  mai  piu  vsate,  ne  vedute. 
In  Siena,  Appresso  Matto  Florini.  MDCIIII.  4°.  Title,  1  p.,  23  cuts. 
B.  K.  M. 

595—  Florio— A  Worlde  of  Wordes.  1598. 

596 —  Florio  and  Torreano — Dictionary.     London,  1654  and  1659. 

597 —  Foillet,    Jacques — Nouveaux    pour  traits  de  point  coupe  et  dentelles  en 

petite,  moyenne  et  grande  forme.  Nouvelement  inventez  et  mis  en  Lu- 
miere.  Imprime  a  Montbeliard  par  Jacques  Foillet,  1598,  petit  in-4°,  fig- 
ure sur  bois.  II  se  compose  de  4  feuillets  preliminaires  (dont  un  blanc) 
pour  le  titre,  un  avertisement  aux  dames  et  demoiselles  de  3  pages ;  et  une 
Exhortation  aux  jeunes  filles  en  vers.  Ensuite  viennent  84  feuillets 
signes  B.-Y.  par  4  (le  dernier  blanc  contenant  chacun  une  planche  de  den- 
telle)  Guilmard  ne  signale  que  82  feuillets  contenant  78  planches. 

598 —  Foillet,  Jaques — Nouveaux  pourctraicts  de  point  coupe  et  dantelles  en  pe- 

tite moyenne  et  grande  forme  nouvellement  inventez  &  mis  en  lumiere 
Imprime  a  Montbeliard  par  Jacques  Foillet  cloloxciix  (1598).  Small  4to, 
82  ff.,  78  plates.  Frontispiece  with  borders  composed  of  squares  of  point 
coupe.  "Avertissement  aux  dames,"  of  three  pages,  stating  these  works 
are  all  composed  of  " point  devant  l'esguille,  de  point  en  toille,  en 
bouclages,  &  de  cordonnages."  The  writer  gives  patterns  of  roses  of  all 
sizes,  "very  little,  middling,  large,  and  very  large,"  with  from  one  to  nine 
pertuis,  or  openings,  holes.  Also  Carreaux  in  different  forms,  and  lastly 
dantelles.  40  patterns  of  "roses,"  of  point  coupe.  And  18  of  "Car- 
reaux," variously  disposed.  Then  follow  20  patterns  of  lace,  of  "bien 
petites,  moyennes,  &  grosses,"  all  "au  point  devant  rEsguille."  At  the 
end:    "La  fin  courone  l'oeuvre."    This  is  the  earliest  pattern-book  in 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


which  the  word  "dantelle"  occurs.  Bib.  Nat.,  Bib.  de  F Arsenal,  Bib.  Ste. 
Genevieve. 

Foillet,  Jaques — Novveaux  Povrtraicts  de  point  covpe  et  dantelles  en  petite, 
moyenne  et  grande  forme.  Nouuellement  innentez  et  mis  en  lumiere.  Im- 
prime  a  Montbeliard  Par  Iaques  Foillet,  CIOIOXCIIX  (1598).  Au-des- 
sons  des  mots,  mis  en  luminere,  dans  le  titre,  on  voit  un  mascaron  a  tete 
humaine  dont  les  moustaches  s'enroulent  dans  Pecusson  qui  renferme  ce 
mascaron.  Le  titre  est  an  centre  d'un  encadrement  rectangulaire  com- 
pose de  petits  carres  de  guipure  places  les  uns  a  cote  des  autres.  Rien  au 
verso  du  titre.  Aij,  au  recto  de  cette  page  :  Avertissement  aux  dames  et 
damoiselles.  Au  verso,  suite  de  1 'avertissement.  Aiij,  fin  de  Pavertisse- 
ment.  Au  verso,  piece  de  vers  intitulee  :  Exhortation  aux  ieunes  filles,  et 
finissant  par  les  mots :  Car  la  vertu  est  la  vraye  noblesse.  La  dernier e 
planche  n'est  pas  cotee.  Elle  porte  en  bas:  La  fin  corone  Pceuvre.  En 
resume  87  feuillets  dont  un  titre  et  83  planches  de  broderies.  Vente  Ye- 
menitz,  n°  1105  du  catalogue,  vendu  390  francs.  Suivant  le  marquis 
d'Adda  il  y  aurait  de  ce  livre  une  reimpression  en  1602  et  1622,  meme 
format,  meme  nombre  de  feuillets  et  de  planches.  II  cite  egalement  une 
edition,  ou  se  trouveraient  en  tete  les  trois  parties  de  Fouvrage  du  Vin- 
ci olo.  Les  nouveaux  pourtraicts  imprimes  a  Montbeliard  en  1598,  c'est- 
a-dire  le  livre  dont  nous  venons  de  donner  la  description  en  serait  la  qua- 
trieme  partie  qui  semblerait  etre  imprimee  ici  pour  la  premiere  fois,  Le  cata- 
logue d'une  vente  publique  qui  a  eu  lieu  a  Anvers  le  29  mars  1864,  sous  le 
numero  528,  cite  un  bel  exemplaire  de  ces  quatre  parties,  Paris  1598,  Mont- 
belliard,  Foillet,  meme  date,  reliees  dans  un  seul  volume  et  ofTrant  ainsi 
tout  ce  que  le  Vinciolo  a  publie  a  dirTerentes  reprises.  Vente  Bancel,  mai 
1882,  catalogue  n°  208,  vendu  1.300  francs.  Vente  Foulc,  June,  1914,  No. 
76,  3,650  francs.    Bibliotheque  Nationale. 

-Foillett,  Jaques — New  Modelbuch  darinnen  allerley  ausgeschnittene  Arbeit, 
in  kleiner,  mittelmassiger  und  grosser  form  erst  neulich  erfunden.  Allen 
tugenden  Frawen  vnnd  Jungfrawen  sehr  nutzlich.  Gedruckt  zu  Mumpel- 
garten  durch  Jacob  Foillet,  1598.  Sm.  4to.  (Woodcut  patterns  for  lace.) 
Cited  by  Cav.  Merli,  in  his  Origine  delle  Trine.  Cat.  Evans,  Strand.  V. 
&  A.  M. 

-Foillet,  Jaques — New  Modelbvch  Darinnen  allerley  aussgeschnittene  ar- 
beit  in  Kleiner  mittel  massiger  vnd  grosserf orm,  erst  newlich,  erfunden. 
Allen  Tugendsammen  Frawen  vnnd  Jungfrawen,  sehr  nutzlich.  Gedruckt 
zu  Basel,  Mumpelgarten.  In  verlegung  Ludwig  Konigs,  MDCI  (1601).  3 
fT.  1  folio  blanc  et  84  planches.  Titre  encadre,  imprime  en  rouge  et  noir. 
Les  2  feuillets  qui  suivent  le  titre,  contiennent  une  epitre  allemande  de 
Jacques  Foillet  a  Sybylle,  duchesse  de  Wurtemberg  et  de  Teck,  comtesse 
de  Montbeliard,  (epitre  datee  du  4  janvier  1598).  Get  ouvrage  est 
une  edition  allemande  du  livre  de  broderies  que  Jacques  Foillet  publia 
d'abord  en  frangais  sous  le  titre  Nouveaux  pourtraicts  de  pont  coupe  .  .  . 
&.    Catalogue  Bancel.    Bibliotheque  du  Baron  James  de  Kothschild. 

-Foillet,  Jacques — Das  Musterbuch  des  Jacques  Foillet,  1598.  Berlin,  E. 
Wasmuth,  1891.    B.  M. 


BIBLIOGRAPHY 


2S7 


603 —  Foilett  de  Montbeliard,  J. — Nouveaux  pourtraicts  de  point  coupe  et  den- 

telles  en  petite,  moyenne  et  grande  forme,  nouv.  inv.  et  mis  en  lumiere  par 
J.  Foillet  (Montbeliard  1598).  Facsimile-reproduction,  Berlin,  1891.  82 
pages,  78  plates  of  patterns. 

604 —  Fontaine,  Angele,  at  Levallois-Perret — Mouchoir.    Art  applique,  2e  annee, 

Paris. 

605 —  Forbes,  Mrs.  A.  S.  C. — Lace-making  by  Indian  Women.   Out  West.  V.  16, 

p.  613. 

606 —  Foresto,  Iseppo — Lo  Splendore  delle  virtuose  giovani  con  varie  mostre  di 

fogliami  e  punti  in  aere.  Venezia.  Per  Iseppo  Foresto  in  calle  dell' 
acqua  a  S.  Zulian  all'  insegno  del  Pellegrino,  1558.  16  plates.  Cat  Cicog- 
nara. 

607 —  Forkel,  A. — Die  Arten  der  Spitze  in  moderner  Bearbeitung.    Plauen,  C. 

Stoll,  1908. 

608 —  Forkel,  Albert — Moderne  Zierformen  fur  Textil-Industrie.     Plauen,  Chr 

Stoll,  n.d. 

609 —  Forkel — Photographs  of  Laces.    16  plates.    (Collection  of  Kursheedt  Man- 

ufacturing Co.,  N.  Y.) 

610 —  Fortunato,  A. — Le  Pompe  di  Minerva,  per  le  nobili  e  virtuose  donne,  che 

gon  industriosa  mano,  di  trattenersi  dilettano  in  far  Eezze,  maglia  quadra, 
punti  in  aria,  punti  tagliati,  punti  a  reticello,  cosi  per  fregio,  come  per 
merletti  e  rosette  di  varie  sorti,  si  come  oggidi  con  Paco  di  lavorar  usati 
per  tutta  l'Europa,  arrichite  di  bellissimi  et  vaghi  intagli  cavati  da  piu 
celebri  autori  di  tal  professione.  In  Pistoja,  per  Fier.  A.  Fortunato. 
In-8°  oblong.  Dedicace  a :  Catarina  Giraldini  in  Cellesi,  20  augusto,  1642. 
Cette  description  a  ete  communiquee  au  marquis  d'Adda,  par  le  comte 
Manzoni  qui  a  vu  le  livre  a  San-Marino,  chez  M.  Parenti  Bonelli. 

611 —  Foster,  Kate — Fifty  Designs  for  Mexican  Drawn-work.  1889. 

612 —  Four  Easter  Crochet  Ideas.    Ladies  Home  Journal.    V.  20,  p.  48,  April, 

1903. 

613^ — Fox,  Catherine  T.  D. — The  Woodward  Collection  of  Old  Lace.  Eeprinted 
from  the  Brooklyn  Museum  Quarterly,  October,  1915. 

614 —  Fox,  Edith  Long — With  the  Devonshire  Lace-makers.     CasselPs  Family 

Magazine,  December,  1893,  London. 

615 —  Fozzi,  P.  P. — A  book  of  models  for  point  coupe  and  embroidery,  published 

at  Padua,  October  1st,  1604,  by  Pietro  Paolo  Fozzi,  "Bomano."  Musee 
de  Cluny,  Paris. 

616 —  Fraipont — L'Art  dans  les  travaux  a  l'aiguille  un  volume  de  160  pages  avec 

39  dessins  inedits  de  Pauteur  et  un  album  de  32  doubles  planches  en  cou- 
leurs  donnant  les  specimen  de  tissus  de  toutes  les  epoques. 

617 —  Franceschi  Domenico  de — Fede. — Opera  nova  intitolata  La  Fede.  Dei 

Eecami  nella  quale  si  contiene  varie  diverse  sorte  di  mostre  di  punto 
scritto  tagliato,  in  stuora,  in  Eede,  opera  non  men  necessaria  che  utile. 
In  Venetia  appresso  Domenico  de  Franceschi  in  Frezzaria  all.  insegna 
della  Eegina.  MDLXIIII.  In-4°.  Eiche  encadrement  au  titre.  Lucrece 
instruisant  ses  femmes.  Figures  et  paysage  anime  d'enfants  et  d'anges. 
On  voit  dans  le  present  titre  le  monogramme  TvP  ou  TMP.    16  feuillets 


288  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

dont  un  tit  re  grave,  1  feuillet  d'avant-propos,  Aij,  avec  dessin  au  verso. 
14  feuillets  avec  29  planches  au  recto  et  au  verso.  Vente  Santarelli.  In 
4to,  ff .  16.  In  his  Avis  au  Lecteur,  Francesehi  alludes  to  three  other 
works  he  had  published,  styled  La  Regina,  La  Serena,  and  La  Speranza. 

618 —  Francesehi,  Domenico  de — Serena  opera  nova  di  recami,  nella  qvali  si  rit- 

rova  varie  et  diverse  sorte  di  punti  in  stuora,  et  punti  a  filo  et  medesima- 
mente  di  punto  scritto  et  a  fogliami  et  punto  in  stuora  a  scacchetti  et  al- 
cuni  groppi  incordonati  et  rosete  doue  ogni  virtuosa  giouene  facilissima- 
mente  fare  ogni  sorte  di  bellissimo  lahoriero,  opera  non  men  vtile  che 
necessaria.  (Au-dessous  de  la  gravure  sur  bois  qui  accompagne  ce  titre.) 
In  Venetia  appresso  Domenico  de  Francesehi  in  Frezzaria  all  insegna 
della  Regina  MDLXIIII  (1564).  In-4°  oblong.  Au-dessous  du  titre,  une 
marque  d'imprimerie  forme  d'un  cartouche  de  cuirs  enroules,  au  haut  du- 
quel  on  voit  a  droite  et  a  gauche,  un  petit  genie  aile.  Au  milieu  de  ce  car- 
touche, un  champ  a  4  lobes,  dans  lequel  on  voit  sur  des  images  deux  petits 
genies  ailes,  tenant  des  couronnes,  elevees  au-dessus  de  leurs  tetes.  Au- 
dessus  d'eux  on  lit  les  mots  Et  animo  et  corpore.  Au  verso,  une  dedicace 
aux  lecteur  s,  datee  de  Venise  12  octobre  MDLXIII  (1564).  Puis  les  bro- 
deries.  Done  en  tout  16  feuillets  dont  un  titre  et  29  planches  de  broderies. 
Vente  Eiva,  1856,  vendu  245  francs.   Vente  Yemenitz,  1867.   B.  M. 

619 —  Francesehi,  D.  de'. — Serena  opera  noua  di  recami,  nella  quale  si  ritroua 

varie  &  diuerse  sorte  di  punti  in  stuora,  &  punti  a  filo,  &  medesimamente 
di  punto  scritto  &  a  fogliami,  &  punto  in  stuora  a  scacchetti,  &  alcuni  groppi 
incordonati,  &  rosete,  doue  ogni  virtuosa  giouene  potra  facilissimamence 
fare  ogni  sorte  di  bellissimo  lauoriero.  Opera  non  men  vtile  che  neces- 
saria. In  Venetia,  Appresso  Domenico  de'  Francesehi,  in  Frezzaria,  all9 
insegna  della  Regina  M  D  LXIIII.    4°.    Title  1  p.,  27  leaves. 

620 —  Francesehi,  D. — Serena  opera  nova  di  Eecami,  nella  quale  si  retrova  varie 

et  diverse  sorte  di  punti  in  stuora,  etc.  Obi.  fol.  Venezia,  D.  de  Fran- 
cesehi, 1564.    Fac-simile  re-print,  27  patterns,  Ongania,  Venice,  1879. 

621 —  Francesehi,  F.  di — Prima  Parte  de'  fiori,  e  disegni  di  varie  sorti  di  Ricami 

moderni  come  merli,  bavari,  Manichetti  al  presente  sono  in  uso.  In 
Venetia,  Appresso  Franceso  di  Francesehi  Senese  all'  insegna  della  Pace 
1591.  Obi.  8vo,  20  ff.,  17  plates  in  the  style  of  Vecellio.  Bib.  de  1 'Ar- 
senal.   — Bib.  Bodleian. 

622 —  Francesehi,  F.  di — La  vera  perfettione  del  disegno  di  varie  sorti  di  ricami 

&  di  cucire  ogni  sorti  de  punti  a  foglami,  punti  tagliati,  punti  a  fili  &  ri- 
messi,  punti  incrociati,  punti  a  stuoro  &  ogn'  altre  arte,  che  dia  opera  a 
disegni.  E  di  nuovo  aggiuntovi  varie  sorti  di  merli,  e  mostre,  che  al  pre- 
sente sono  in  uso  &  in  pratica.  In  Venetia,  Appresso  Francesco  di  Fran- 
cesehi Senese  all'  insegna  della  Pace.  1591.  Obi.  8vo,  36  ff.,  72  plates. 
Dedicated  to  "Signora  Lucretia  Contarini,  per  matrimonio  Priula  Nobile 
Grentildonna  Venetiana,"  by  Giovanni  Ostaus.  A  woodcut  of  Lucretia 
working  with  her  maidens,  signed  Jose  Sol,  1557.  Patterns,  Small 
Squares,  Gorgets,  Youth,  Paris,  Pyramus  and  Thisbe,  Arabesques,  Gro- 
tesques, and  an  Alphabet.   Bib.  de  l'Arsenal,  Bib.  Bodleian.    S.  K.  M. 

623 —  Francesehi,  Francesco  di — La  Vera  Perfessione  del  disegno  di  varie  sorti 


BIBLIOGRAPHY 


280 


di  ricami  e  di  cucire  ogni  sorte  di  punti  a  f  ogliami,  punti  tagliati,  punti  a 
fili  e  rimessi,  punti  incrotiati,  punti  a  stuora  e  ogn'altra  arte  che  dia  opera 
a  disegni,  e  di  nuovo  aggiuntoni  varie  sorti  di  merli  e  mostre  che  al  pre- 
sente  sono  in  nso  e  in  pratice.  In  Venetia  appresso  Francesco  di  Fran- 
ceschi  Senese  all  insegna  della  Pace,  1591.  Reproduit  et  publie  par  Am- 
and-Durand  sons  la  direction  de  Emmanuel  Boeher.    Paris,  182. .. 

624 —  France,  Gio°.  Libro  delle  mostre  da  cuser  per  le  donna.    Sans  date.  16 

gravures  sur  bois  et  8  snr  cuivre.  II  est  question  de  ce  recueil  dans  les 
inscrizioni  Venete  du  chevalier  E.  Cicogna,  tome  III,  page  443. 

625 —  Frano,  Gio. — Libro  delle  mostre  da  ceuser  per  le  donne.     1596.     16  en- 

gravings on  wood  and  8  on  copper.    (Cited  by  Marquis  d'Adda.) 

626 —  Franco  Giacomo — Nvova  inventione  De  diuerse  mostre  cosi  di  punto  in  aere 

come  di  Retticelli  hoggidi  usate  per  tutte  le  parte  del  mondo.  Con  Mer- 
le tti,  Mostrette  da  Colari,  e  da  Maneghi11  et  merli  per  cantoni  da  fazo- 
letti.  In  Venetia,  1596.  Con  privilegio.  Ce  titre  est  inscrit  dans  un  trait 
carre  rectangulaire  au-dessous  duquel  on  lit  a  gauche :  Giacomo  Franco 
Forma.  II  est  entoure  de  cuirs  enroules,  de  flieurs,  fruits,  mascarons,  etc. 
Page  suivante  cotee  A.  Dedicace :  Alia  molto  Magnifica  signora  Adriana 
Palma.  Verso.  Fin  de  la  dedicace  signee :  Giacomo  Franco.  4°.  En- 
graved title,  2  pp.,  8  engravings  and  (?)  16  cuts.  Sm.  obi.  This  is  ap- 
parently No.  62  in  Mrs.  Palliser's  list.  The  title  and  six  engravings  are 
in  the  Victoria  and  Albert  Museum. 

627 —  Franco  (Giacomo) — Nuova  Inventione  de  diuerse  mostre  cosi  di  punto  in 

aere  come  di  Eetticelli,  etc.  Sm.  obi.  4to.  Venice,  1596.  Ongania  reproduc- 
tion, 1877. 

628 —  Reproduction  of  this  book  by  Ongania,  1878,  at  Metro.  Mus. 

629—  Reproduction  of  this  book  by  Ongania,  1887.   S.  K.  M. 

630 —  Frangois,  Rene — Essay  des  merveilles  de  natvre  et  des  plvs  nobles  artifices, 

piece  tres  necessaire  a  tous  ceux  qui  font  profession  d 'eloquence  par  Rene 
Frangois  (Jesuite,  nomme  Etienne  Binet)  predicateur  du  Roi,  a  Rouen 
chez  Romain  de  Beauvais,  pres  le  grand  portail  Nostre-Dame  et  Jean  Os- 
mont,  MDCXXI  (1621).   Article  sur  la  broderie,  page  532. 

631 —  Frauberger,  T. — Die  Beziehungen  der  Fransen,  der  Kniipfarbeit  und  der 

posamenterie  zu  der  Spitze  und  ihren    Techniken.  Kunstgewerbeblatt, 

1893,  Leipzig. 

632 —  Frauberger,  T. — Die  "Exposition  des  Arts  de  la  femme"  in  Paris.  Kunst- 

gewerbeblatt, December,  1892,  Leipzig. 

633 —  Frauberger,  Tina — Handbuch  der  Spitzenkunde.   Leipzig,  E.  A.  Seemann, 

1894.  B.  M. 

634 —  Frechon,  Henri — Traite  theorique  et  pratique  de  travaux  a  Paiguille:  cou- 

ture, lingerie,  tricot,  crochet,  tapisserie,  coupe,  modes,  precis  d'histoire 
du  costume,  repondant  aux  derniers  programmes  du  travail  manuel  dans 
Penseignement.    Paris,  1913.    Masson  et  Cie. 

635 —  French  and  Flemish  Laces,  Special  Display  of — Bulletin  of  the  Metropoli- 

tan Museum  of  Art,  April,  1917,  New  York.  p.  96. 

636—  French,  New  Art  Lace.   Craftsman,  V.  10,  pp.  129-133,  April,  1906. 


290 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


637 —  French  Patterns  for  Crochet  and  Lace  Borders  with  instructions  for  work- 

ers, n.p.,  n.d.  4to. 

638 —  French,  G.  J. — Practical  remarks  on  some  of  the  minor  accessories  to  the 

services  of  the  church,  etc.   16mo.  Leeds,  1844.   S.  K.  M. 

639 —  French,  G.  J. — The  Tippets  of  the  Canons  Ecclesiastical.   Woodcuts.  8vo. 

London,  1850.   S.  K.  M. 

640 —  Frere-Orban — Discours  prononce  a  la  Chambre  des  Eepresentants.  (An- 

nales  parlementaires,  1858-59,  p.  705.) 

641 —  Friend,  Margaret  Alice — Laces  from  French  Colonies.  Vogue,  Mar.,  1916., 

New  York. 

642 —  Friling,  H. — Nouveaux  Documents  d'Art  decoratif.    Serie  1-2.  Brussels, 

P.  Wytsman,  1898. 

643 —  Frilling,  H. — See  "Dessins  Ornementaux"  etc. 

644 —  Frutti,  I. — Opera  nuova  intitvlata  i  f  rutti  de  i  punti  in  stuora  a  f ogliami 

nella  qvale  si  ritrova  varie  et  diverse  sorte  di  mostre  di  punti  in  stuora,  a 
fogliami  et  punti  in  gasii  et  in  punti  in  trezola.  Dove  ogni  bella  et  virtvosa 
donna  potra  fare  ogni  sorte  di  lauoro  cise  fazoletti,  colari,  maneghetti, 
merli,  Frisi,  Cauezzi,  intimelle  ouero  Forette  auertadure  da  camise,  et  al- 
tri  sorti  di  lauori,  come  piu  a  piene  potrai  vedere,  ne  mai  per  l'adietro 
d'alcun  altro  fatte  et  post  in  luce.  Opera  non  men  bella  che  vtile  et  neces- 
saria  a  ciascune  virtvosa  Gentildonna.  In  Vinegia,  MDLXIIII  (1564). 
Les  mots  I.  Frutti  au  haut  de  la  page  sont  inscrits  dans  un  petit  cartouche 
rectangulaire  orne  de  cuirs  et  de  mascarons.  Au-dessus  des  mots :  In 
Vinegia  un  petit  nielle  grave  sur  bois.  Puis  commencent  les  broderies,  30 
planches  composees  uniquement  de  sujets  de  tapisserie  dessines,  soit  par 
point  juxtaposes,  soit  par  points  dans  des  carreaux  de  papier  quadrille. 
8vo,  or  In-4°  oblong.   Bibliotheque  de  L 'Arsenal. 

645 —  Furmbiichlein,  Ein  New — see  Model — Biichli. 

646 —  Fiirst,  E.  H. — Das  newe  Modelbuch  von  schonen  nadereyen  Ladengewurck 

und  Faterleins  arbeit.  Ander  Theil.  Ce  titre  est  dans  un  cartouche  des 
deux  cotes  duquel  on  voit  une  femme  ailee  dont  le  bas  du  corps  se  termine 
par  des  fruits.  En  bas  autour  d'une  table,  une  societe  de  trois  femmes  et 
de  deux  hommes.  A  gauche  une  femme  travaillant  a  un  metier  sur  lequel 
est  tendu  un  reseau.  A  droite  une  femme  tissant  avec  un  petit  metier  pose 
sur  la  table.  Au  milieu  une  femme  brodant  a  l'aiguille.  Les  deux  hommes 
les  considerent.  En  bas,  dans  l'interieur  du  dessin  a  gauche:  L.  B.  Bener, 
f.  a  droite  zu  finden  in  Niirnberg.  Bey  Paulus  FtLrsten  Kunsth.  Gravure 
sur  cuivre.  Preface.  Verso,  fin  de  la  preface,  se  terminant  par  les  mots: 
Eosina  Helena  Furstinn.  Fin  de  la  dedicace  par  ces  mots :  Nurnberg  den 
20  martii  1666.  E.H.F.  Au  verso,  un  sonnet.  Ensuite  les  broderies.  Les 
pages  sont  numerotees  en  haut  a  droite  de  1  a  50.  En  resume  50  planches 
de  broderies  et  4  feuillets  liminaires.  Obi.  4to.  Bibliotheque  imperiale  de 
Berlin. 

647 —  Furst  (inn),  E.  H. — Das  Neue  Modelbuch  von  Schonen  Naderenen  Ladenge- 

wurck und  Paterlemsarbeit.  46  plates  of  designs  for  lace  work.  Small  ob- 
long 4to,  full  vellum  gilt.   Nuremberg,  1666. 

648 —  Furst,  E.  H. — Model  Buchs,  Tritter  Theil.   Frontispice.   Dans  un  jardin, 


BIBLIOGRAPHY 


291 


tine  f emme  travaillant  au  filet  sur  une  table  ou  se  voient  difrerents  outils 
employes  par  les  brodeuses.  A  droite,  une  colonne  autour  de  laquelle  est 
une  banderolle  sur  laquelle  on  lit :  Un  bewegt  ranicken  tragt.  En  haut 
dans  le  ciel  un  osil  d'ou  s'echappent  des  rayons  au  milieu  desquels  on  lit: 
Der  arbeit  nutz  is  Gottes  schiitz.  En  bas  sur  une  banderolle  blanche  le  titre 
ci-dessus :  Model  Buchs.  Tritter  Theil.  Vogeln,  Blumen,  und  Fruchten, 
Wie  dieselbige  zum  Weiss,  Nehen,  Landengewebe,  Creutz  und  Frantzo- 
sichen  stiche  strumpf,  gestricke  auch  Geschnur  Gewirck  und  geschlinge 
von  Faterlein  oderandern  der  gleichen  Arbeit,  nacb  eines  jeglichen  Belie- 
ben  anzuwenden  Gezeichnet  und  den  Jenigens  o  zu  solcher,  arbeit  lust 
haben,  zu  dienst  ins  kupffer  versezt.  Von  und  in  Verlegung  Rosina  Helena 
Furstin.  Nurnberg  zu  finden  bey  Paulus  Fursten.  Kunst  und  Buchhandel 
seel  Wittib  und  Erben  Gedruckt  da  selbst  bey  Christian  Sigmund  Froberg. 
Verso,  fin  de  la  dedicace  par  les  mots :  Deine  in  Ehren  willige  Dienerin. 
R.H.F.  (Rosina  Helena  Furstin.)  Nurnberg  10  Winter  Monats.  Im.  1675. 
Heil  Jahre.  Puis  commencent  les  broderies  numerotees  en  haut  a  droit  en 
chirTres  arabes.  Les  planches  ne  sont  imprimees  qu'au  recto  seulement. 
Celles  numerotees  1,  2,  25,  27,  29,  30,  sont  de  grandes  planches  plusieurs 
f  ois  ployees  sur  elles-memes.  43  planches  de  broderies.  II  y  a  des  editions 
qui  portent  au  bas  du  titre :  Gedruckt  bey  ChristorT.  Gerhard  in  Jahr  1676, 
au  lieu  de :  Gedruckt  Daselbst  bey  Christian  Sigmund  Froberg. 

649 —  Fiirst,  R.  H. — Model-Buchs ;  dritter  Theil.   Von  unterschiedlichen  Vogeln 

Blumen,  und  Fruchten,  etc.,  nach  eines  jeglichen  Belieben  amzuwenden. 
4to.  obi.,  engraved  title  and  printed  list:  42  wood  plates,  4  large.  Von  und 
in  Verlegung  Rosina  Helena  Fur  tin.  Nurnberg,  P.  Furstin,  1676.  S.  K. 
M. 

650 —  Furst,  R.  H. — Frontispice.  Dans  un  pare  au  milieu  d'une  alle  de  peupliers, 

au  bout  de  laquelle  on  voit  un  palais,  une  table  ronde  au  second  plan  devant 
laquelle  sont  trois  femmes  travaillant  a  des  ouvrages  de  broderies.  L'une 
a  droite  a  un  petit  metier,  celle  du  milieu  a  un  reseau.  Au  premier  plan  a 
gauche  un  homme  vetu  a  la  Romaine,  casque  en  tete,  tient  d'une  main  un 
sablier  et  un  eperon.  A  droite  une  femme  assise  dans  une  grotte  et  per- 
sonnifiant  la  paresse.  A  ses  pieds  un  cochon  ainsi  que  des  debris  de  me- 
tiers et  d'ustensiles  servant  a  Part  de  la  broderie.  Page  non  ootee.  Des 
nurnbergischen  model  oder  nahe  Buchs  Wierdtertheil  Vorinnen  unter- 
schiedlich  Model  von  Gestrick  Genah  zum  abzehlen  auch  zum  abriss 
genah  sehr  dienlich  zu  gebrauchen,  ingleichen,  zu  laden:  gewurck  som- 
mer  Gittern  und  seiden,  genah  Kreutzstuck  in  Leinward  oder  Camfas 
auch  zu  Frantzosischer  stuck  Fatterleins  arbeit  in  Geschnur  und  Geseh- 
ling  strumprT  und  handschule  zu  stricken  ungleicher  flor  genah  auch  auf 
Caton  und  leinwad  zu  machen  zu  glatt  und  erhobenen  Caton  stucken 
sehr  nutzlich,  zu  gebrauchen.  Inventirt  una  verlegt  von  Rosina 
Helena  Furstin,  in  Nurnberg  und  zu  finden  bey  ihr  daselbst.  Dedicace. 
Verso.  Verso  fin  de  la  dedicace.  Avertissement.  Verso.  Fin  de  Paver- 
tissement.  Puis  les  broderies,  numerotees  en  haut  a  droite  en  chirTres 
arabes.  Les  pages  1,  2,  15  a  26,  28,  30  sont  de  grandes  planches  plusieurs 
fois  ployees  sur  elles-memes.  En  tout  50  planches  et  11  feuillets  Limi- 
naires. 


292  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

651— Furst  R.  H.— Das  neue  Model  Buch,  zufinden  Nurnberg  bey  Paulus  Fur- 
sten Kunsthanal.   Erster  Theil.    Ce  titre  est  inscrit  en  haut  sur  une  dra- 
perie  soutenue  par  deux  petits  amours  ailes.    En  bas  un  interieur  dans 
lequel  on  voit  deux  femmes  a  une  table.    Celle  de  gauche  travaille  a  un 
filet,  tendu  sur  un  cadre.   Celle  de  droit  brode  a  1 'aiguille.    A  leurs  pieds 
un  chien  couche  au-devant  de  la  table.   A  droite  un  homme  debout  en  cos- 
tume Louis  XIV.   A  gauche  une  femme  assise  devidant  de  la  laine.  Au 
fond  deux  femmes  devidant  egalement  de  la  laine.    In-4°  oblong.  Neues 
Modelbuch  von  Unterschiedlicher  art  der  Blumen  und  anderer  Genehten 
Model,  nach  itziger  Manier,  alien  Liebhaberinnen.   Dieser  Kunst  Zumbes- 
ten,  vorgestellt,  zu  finden  in  Nurnberg  bey  Paulus  Fursten  Kunst  und 
Biichlandern.   Seel  Wittib.  und  Erben,  1689.  4  parties  en  un  volume  in-4° 
oblong.  Dans  cette  edition  I'M  du  mot  Modelbuch  est  une  lettre  ornee  dans 
un  car  re  ou  1'on  voit  le  bouclier  de  Miner  ve,  surmonte  de  la  chouette  sym- 
bolique.   Dans  d'autres  editions  sans  date,  on  voit,  dans  ce  petit  carre,  les 
trois  graces  enlacees  an  lieu  du  bouclier  de  Minerve,  et  on  lit  dans  le  titre : 
Zu  finden  in  Nurnberg  bey  Paulus   Fursten  Kunsthandlern,  an  lieu  de 
Zu  finden  in  Nurnberg  bey  Paulus  Fursten  Kunst  und  buohlandern  seel 
"Wittib.  und.  Erben,  1689.   Gresprach  zwischen  Jungfrauen,  etc.  Dialogue 
en  vers  entre  deux  jeunes  filles,  sur  le  sujet  de  travaux  a  1 'aiguille.  En- 
suite  les  broderies.  Chaque  page  est  numerotee  en  haut  a  droite  en  chiffres 
arabes.   Chaque  dessin  indique  le  nombre  de  lignes  dont  se  compose  le 
canevas.  Ce  sont  des  planches  de  tapisserie  a  points  comptes.    Les  pages 
de  43  a  50  renf  erment  des  guipures.  En  resume  50  planches  de  broderies  et 
10  feuillets  liminaires.    Cet  important  recueil  de  modeles  de  broderies  et 
dentelles  a  pour  auteur  Rosina  Helene  Fiirst  parente  de  l'editeur  de  Nur- 
emberg.   Le  nom  de  Rosina  Helene  Fiirst  se  lit  a  diverses  dedicaces  qui  se 
trouvent  dans  les  feuillets  preliminaires  des  trois  dernieres  parties.  Col- 
lation de  tout  l'ouvrage.   lre  Partie.     Frontispice,  3  fT.  liminaires  et  50 
planches.   IIe  Partie.   Frontispice,  3  tf.  liminaires  et  50  planches.  IIIe 
Partie.    Frontispice,  3  ff.  liminaires  et  50  planches.  IVe  Partie.  Frontis- 
pice, 10  ff.  liminaires  et  50  planches.    Ensemble  193  planches  gravees  en 
taille  douce  et  dont  plusieurs  se  deplient.   Une  edition  de  ce  recueil,  aussi 
en  4  parties  et  avec  193  planches,  avait  deja  ete  publiee  de  1666  a  1676. 

652  Furst,  E.  H. — Neues  Modelbuch  von  unterschiedlicher  Art  der  Blumen,  und 

anderer  genehten  Model,  nach  itziger  Manier,  Allen  Liebhaberinnen  dies- 
er Kunst  Zumbesten,  vorgestellt.  Zu  finden  in  Nurnberg,  bey  Paulus  Fur- 
sten, Kunst  und  Buchlandern  Seel.  Wittib  und  Erben,  1689.  4  parties  en 
un  vol.  in-4  obi.  Cet  important  recueil  de  modeles  de  broderies  et  dentelles 
a  pour  auteur  Rosina-Helene  Furst,  parente  de  l'editeur  de  Nuremberg. 
Le  nom  de  Rosina-Helene  Furst  se  lit  a  diverses  dedicaces  qui  se  trouvent 
dans  les  ff.  prelim,  des  3  dernieres  parties.  Collation,  Ire  part,  front,  grave, 
9  ff.  lim.  imprimes  et  50  pi.— IIe  part,  front.,  3  fT.  lim.  et  50  pi.— IIP  part., 
front.,  3  fT.  lim.  et  43  pi.— IVe  part.,  front.,  10  fT.  lim.  et  50  pi.  Ensemble 
193  pi.  dont  plusieurs  se  deplient,  gravees  en  taille-douce.  Une  edition  de 
ce  recueil  aussi  en  4  parties  et  avec  193  planches,  avait  deja  ete  publiee  de 
1666  a  1676.    Vente  Destailleurs,  1895. 


BIBLIOGRAPHY 


293 


653 —  Fiirst — Neues  Modelbuch,  von  unterschiedlicher  Art  der  B  lumen,  und  an- 

derer  genehten  Model,  nach  itziger  Manier,  alien  Liebhaberinnen  dieser 
Kunst  zum  besten,  vorgestellet.  Nurnberg  bey  Paulus  Fiirsten,  1676- 
1689.   1-3  (ohne  den  4.)  Teil,  mit  150  Tafeln. 

654 —  Fiirst — Neues  Modelbuch    .    .    .     von  Eosina  Helena  Fiirstin  (Nurn- 

berg),  bey  J.  C.  Weigels  Wittib.  1728. 

655 —  Fuster,  Charles — La  Dentelliere  d 8  Bruges  (Poeme).  Paris  au  "  Semeur, '  ' 

1891. 

 G—  — 

656 —  Gaby,  R. — Ecoles  dentellieres.    La  Justice  sociale,  March  24,  1901,  Brus- 

sels. 

657 —  Galvin,  Norah  Teresa,  at  Cork — Col  et  manche  en  dentelle.   Art  applique, 

1  re  annee,  Paris. 

658—  Gandini— Este  Family,  1896. 

659 —  Garfagnino,  Porta — see  Salviati,  Joseph. 

660 —  Gargano,    Lucchino — Pretiosa    gemma  delle  virtvose  donne,  doue  si  vedono 

bellissimi  lauori  di  punto  in  aria,  rsticella,  di  maglia  a  piombini,  disegnati, 
da  Isabella  Catanea  Parasole  e  di  nuovo,  dati  in  luce  da  Lucchino  Gargano 
con  alcuni  altri  bellissimi  lauori  Nouamente  inuentati.  Stampata  in  Ven- 
etia  ad  instantia  di  Lucchino  Gargano  MDC  (1600).  Con  Licenza  de  su- 
periori.  Dedicace,  Alia  illustriss.  et  eccellentiss,  Signora  e  padrona  mia 
osservandiss.  la  Signora  Donna  Gironima  Colonna.  Puis  les  broderies  des 
feuillets,  au  nombre  de  7.  Second o  Libro  della  pretiosa  Gemma  delle  virt- 
vose donne,  doue  con  nuova  inventione  si  vedono  bellissini  lauori  di  varia 
sorti  di  merli  grandi  e  piccioli,  punti  in  aria,  punti  tagliati,  punti  a  reti- 
cello,  e  Rosetti  diuersi  che  con  laco  si  usano  hoggidi  per  tutta  Europa, 
nouamente  dato  in  luce,  de  Lucchino  Gargano.  Stampata  in  Venetia  ad 
instantia  de  Lucchino  Gargano.  MDCI  (1601).  Dedicace,  Alia  Illustriss. 
et  excellentiss.  Signora  e  padrone  mia  oservandiss.  la  Signora  Donna  Gir- 
onima Colonna.    Puis  les  broderies.   V ente  Santarelli. 

661 —  Garsault,  de — L'Art  de  la  lingerie.    Paris,  1871. 

662 —  Gatta  (Libraria  de  la.) — Opera  nova  di  recami  intitolata  le  Richezze  delle 

bellissime  et  virtuosissime  Donne,  nella  quale  si  ritrova  varie  sorti  di  pun- 
ti tagliati  et  punti  in  aiere,  dove  f  acilissimamente  &  senza  fatica  alcuna 
ogni  virtuosa  donna  potra  lavorare  cavezzi  di  varie  sorti.  In  Venetia  V- 
anno  M.  D.  L Villi  a  la  Libraria  de  la  Gatta.  Fol.  46  leaves,  3  parts  in  1 
vol. 

663—  Gaugain,  Mrs.— Crochet  D'Oyley    Book.   Nos.  1,  3.  1847. 

664 —  Gaugain,  J. — The  Lady's  Assistant  for  executing  useful  and  fancy  De- 

signs in  Knitting,  Netting,  and  Crochet  Work.  Illus.  3  vols,  in  4  obi.  16 
mo.  Edinburgh,  1844-6.   S.  K.  M. 

665 —  Gay,  Victor  et  Dupont-Auberville — Catalogue   descriptif  des   Tissus  et 

Broderies  exposes  au  Musee  des  Arts  decoratifs  en  1880.  Paris,  Imp. 
Publications  periodiques,  1880. 

666 —  Gebhard,  E.  L. — Samplers  of  the  Other  Days.   American  Homes,  V.  10,  pp. 

24-5,  January,  1913. 


294 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


667 —  Gedini,  Giacomo — Libro  novo,  Chiamato  Fior  di  Virtu.    Qual  insegna  a 

cusir  a  ogni  virtuosissima  giovine  che  si  diletta  a  imparare  cioe  Ponti 
Tagliati,  ponti  in  stuora  et  ponti  crosati  et  molti  altri  bellissimi  lauori.  In 
Venetia  appresso  Giacomo  Gedini  in  Frezzaria  al  segno  della  Fede, 
MDLXXXIIII  (1584).  In-4°.  Ce  titre  est  circonscrit  par  une  composi- 
tion, oil  l'on  voit  en  haut  nn  entablement  posant  sur  deux  colonnes  sur- 
montees  chacune  d'une  petite  figure  de  femme  brodant  a  1 'aiguille.  Au 
milieu  du  chapiteau,  un  homme  travaillant  a  un  petit  metier  qu'il  tient  des 
deux  mains  appuye  sur  son  genou.  En  bas  de  la  composition  et  au-dessous 
du  titre  deux  femmes  travaillant,  l'une  a  droite  a  un  metier  de  basse  lisse, 
l'autre  a  gauche  a  un  petit  metier  pose  devant  elle  sur  une  table.  Elle  est 
assise  de  trois  quart  a  droite,  En  resume,  20  feuillets  dont  18  pages  de 
broderies.   Vente  Destailleurs. 

668 —  Gehakelte  Spitze  nach  einer  Kloppelspitze.  Daheim,  Sept.  9,  1893,  Leipzig. 

669 —  Georgens — Das  Flechtarbeiten.    (Plates.)    2nd  ed.    4to.    Leipzig,  1877. 

S.  K.  M. 

670—  Georgens— Das  Hakeln.    (Plates.)  2nd  ed.   4to.   Leipzig,  1877.    S.  K.  M. 

671 —  Georgens — Die  Kanevas — Stickerei.    (Plates.)  2nd  ed.  4to.  Leipzig,  1877. 

S.  K.  M. 

672 —  Georgens — Kniipfen  und  Durchziehen.    (Plates.)    2nd  ed.    4to.  Leipzig, 

1877.   S.  K.  M. 

673 —  Georgens,  J.  D. — Die  Linienstickerei.   Vorbilder  fur  den  modernen  Geb- 

rauch.    (Plates.)    2nd  ed.   4to.    Leipzig,  1877.   S.  K.  M. 

674 —  Georgens — Nahen  und  Zuschneiden.  (Plates.)  2nd  ed.  4to.  Leipzig,1877. 

S.  K.  M. 

675 —  Georgens — Die  Plattstickerei.    (Plates.)     2nd  ed.    4to.    Leipzig,  1877. 

S.  K.  M. 

676 —  Georgens,  J.  D. — Die  Schulen  der  weiblichen  Handarbeit.    (Plates)  4to. 

Berlin,  1869.    S.  K.  M. 

677 —  Georgens — Das  Spitzennahen.    (Plates.)     2nd  ed.    4to.    Leipzig,  1877. 

S.  K.  M. 

678—  Georgens— Das  Stricken.    (Plates.)    2nd  ed.  4to.  Leipzig,  1877.  S.  K.  M. 

679 —  Georgens — Toilette  und  Dekoration.    (Plates.)  2nd  ed.  4to.  Leipzig,  1877. 

S.  K.  M. 

680 —  Gerliez,  H.  de — (Homo  &  Co.)  Laces,  etc.    p.  17;  13.    (Collection  of  Kur- 

sheedt  Manufacturing  Co.,  N.  Y.) 

681 —  Germany,  Industries — Lace  makers  complain  on  ground  that  soldiers  buy 

Belgian  product  in  preference  to  theirs.  N.  Y.  Times,  Apr.  28,  17 :2 ;  re- 
port of  American  Association  of  Commerce  and  Trade  in  Berlin  on  gen- 
eral economic  conditions,  May  21,    II,  12 :1. 

682 —  Germany:  Lace  Industry.  Board  of  Trade  Journal,  Aug.  22,  1901,  London. 

683—  Gheltof,  G.  M.,  Urbani  de— I.  Merletti  a  Venezia.   Venice,  1876. 

684 —  Gheltof,  G.  M.  Urbani  de — A  technical  History  of  the  Manufacture  of 

Venetian  Laces.   Translated  by  Lady  Layard,  Venice,  F.  Ongania,  1882. 

685 —  Gheltof,  G.  M.,  Urbani  de — Trattato  storico  tecnico  della  Fabbrizaacione 

dei  Merletti  Veneziani.   Venice,  1878. 


BIBLIOGRAPHY 


295 


686 —  Griardinetto  nuovo  di  punti  tagliati  et  gropposi  per  exercitio  et  ornamento 

delle  donne.  Venetia  1542.  Un  volume  in-4°.  Catalogue  Cappi  de  Bo- 
logne.   Bibliographie  du  marquis  d'Adda.  Bib.  de  1' Arsenal. 

687 —  Gibson,  M. — Book  of  Samplers.    Woman's  Home  Companion,  V.  39,  p.  78, 

November,  1912. 

688—  Gittertyl  Filet,   Delineator,  V.  65,  pp.  112-114,  January,  1905. 

689 —  Givelet,  C. — Les  Toiles  Brodees  anciennes  mantes  ou  courtes-pointes  con- 

servees  a  1 'hotel  Dieu  de  Eeims.    8vo.   Eeims,  1883.   S.  K.  M. 

690 —  Glafey,  H. — Die  Herstellung  der  Luftspitzen    (Aetzspitzen).  Dinglers 

Polytechnisches  Journal,  June  26,  1891,  Stuttgart. 

691 —  Glafey — Herstellung  der  Spitzen  (Hand  &  Machine).     Verhandl.  Ver. 

Beford.  Gewerbneisses.  Sitzungsb.  November,  1915.  pp.  119-144.  46 
figs. 

692 —  Gliier,  Louis — Colored  Patterns  for  Cross  Stitch  "Work.    4  photographs. 

(Collection  of  Kursheedt  Manufacturing  Co.    New  York.) 

693—  G.  M.— Pour  la  Dentelle.    Le  Temps,  June  4,  1905,  Paris. 

694 —  Glen,  Jean  Baptiste  de — Du  debuoir  des  filles,  Traicte  brief  et  fort  vtile, 

divise  en  deux  parties,  la  premiere  est  de  la  dignite  de  la  f emme,  de  ses  bons 
departements  et  debuoirs,  des  bonnes  parties  et  qualites  requises  aux  filles 
qui  tendent  au  mariage,  1 'autre  traicte  de  la  virginite  de  son  excellence,  des 
perfections  necessaires  a  celles  qui  en  font  profession,  des  moyens  de  la 
conserver  et  de  plusieurs  autres  choses  qui  >se  verront  plus  a  plein  au  som- 
maire  des  chapitres,  par  frere  Jean  Baptiste  de  Glen,  docteur  en  Theo- 
logie,  de  la  faculte  de  Paris  et  prieur  des  Augustins  lez  Liege.  Item  plu- 
sieurs patrons  d'ouvrages  pour  toutes  sortes  de  lingerie  de  Jean  de  Glen 
.  .  .  Le  tout  dedie  a  madame  Anne  de  Croy,  marquise  de  Eenty  .  .  . 
A  Liege,  chez  Jean  de  Glen,  1597.  Sur  ce  titre  sont  gravees  les  armes 
parlantes  de  Jean  de  Glen,  trois  glands  en  sautoir  surmontes  d'une  cou- 
ronne  de  chene.  In-4°  oblong.  Au  verso  de  ce  titre  sont  les  armes  de  Croy. 
Epitre  dedicatoire  a  Haute  et  puissante  dame,  madame  Anne  de  Croy. 
Verso. — Fin  de  1 'epitre  de  dedicatoire  signee:  Frere  Jean  Baptiste  de 
Glen. — Page  non  cotee.  Du  devoir  des  filles,  partie  premiere,  traictant  de 
la  dignite  de  la  femme,  des  bons  debvoirs,  qvalites,  et  parties  des  filles, 
tendantes  au  mariage.  Avertissement  aux  lecteurs. — S'en  suit  le  som- 
maire  des  chapitres.  Puis  120  pages  numerotees  en  haut  au  recto  et  au 
verso  en  chiff res  arabes.  Sign.  A.  P.  A  la  suite  20  planches  de  broderies 
gravees  sur  bois  en  blanc  sur  foni  noir  et  presque  toutes  empruntees  aux 
ouvrages  de  Vinciolo,  de  Vecellio,  etc.  Nous  reproduisons  ici  une  note 
redigee  par  M.  Edouard  Rahir,  le  savant  bibliophile,  dont  1 'erudition  fait 
loi  dans  tout  ce  qui  a  trait  a  la  connaissance  du  livre.  Cette  note  a  ete 
redigee  pour  le  catalogue  de  la  vente  Destailleurs.  "Ainsi  que  1'annonce 
le  titre,  l'ouvrage  est  divise  en  deux  parties  distinctes,  la  premiere  pour 
le  devoir  des  filles,  la  seconde  contenant  les  patrons  de  lingerie.  La  pre- 
miere partie  divisee  en  deux  livres,  se  compose  de  8  feuillets  limi- 
naires  dont  1  blanc  et  120  feuillets  chiffres  (sig.  A.  P).  La  collation 
de  la  seconde  partie  est  plus  difficile  a  etablir.  M.  Brunet,  M.  de  Eeif- 
fenberg,  et  tout  recemment  M.  Van  der  Haeghen  dans  la  Bibliotheca 


296 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


Belgica  reclament  pour  cette  partie  6  ff.  de  texte  imprime  et  39  de 
planches  de  broderies.  Cette  collation  ne  concorde  pas  avec  4  e- 
xemplaires  de  cet  onvrage  qne  nons  avons  collationnes  et  qui  ne  conte- 
naient  que  20  planches,  sans  les  feuillets  liminaires.  Trois  de  ces  exem- 
plaires ont  figure  aux  ventes  Libri,  Yemenitz  (ex.  revendu  chez  Didot  et 
Bieswald).  Le  quatrieme  est  celui  que  nous  decrivons.  Est-ce  a  dire  que 
tous  ces  exemplaires  soient  incomplets;  nous  ne  le  croyons  pas,  d'autant 
plus  que  trois  etaient  en  ancienne  reliure.  Nous  supposons  plutot  qu'aux 
exemplaires  decrits  par  MM.  Brunet,  EeifTenberg  et  Van  der  Haaghen, 
etait  ajoute  un  volume  separe  ay  ant  pour  titre :  singuliers  et  nouveaux 
pourtraits  pour  toutes  sortes  de  lingerie,  comprenant  6  ff.  et  19  planches. 
Ainsi  que  l'observait  le  redacteur  du  catalogue  Libri,  les  deux  ouvrages 
sont  tres  difTerents  l'un  de  rautre.''  L 'explication  donne  ici  par  M. 
Eahir  est  la  vraie.  II  y  a  deux  livres  faits  par  de  Glen.  L'un  n'a  que 
19  planches  et  l'autre  20,  ce  qui  fait  39  en  les  reunissant.  Mais  ce  sont  des 
ouvrages  parfaitement  distincts  parus  en  la  meme  annee  1597.  Nous  don- 
nons  ci-dessous  l'enonce  du  titre  du  second.  Le  marquis  d'Adda  dans  son 
etude  sur  les  livres  a  dentelles  parus  en  France,  en  Allemagne  et  en  Flan- 
dre  (Gazette  des  Beaux  Arts,  1  novembre,  1864),  corrobore  l'opinion  de  M. 
Eahir.   Vente  Yemenitz.    Vente  Detailleurs,  1895. 

695 —  Glen,  Jean  de — Les  singuliers  et  nouveaux  pourtraits,  pour  toutes  sortes 

de  lingeries  de  Jean  de  Glen,  dedies  a  Madame  Loyse  de  Perez ;  a  Liege, 
chez  Jean  de  Glen,  1'an  1597.  Obi.,  39  plates,  mostly  borrowed  from  Vin- 
ciolo  and  Vecellio,  as  well  as  the  title.  Bibliotheque  Eoyale  de  Bruxelles. 

696 —  Godefroid  Marguerite,  at  Eeims — Col  en  dentelle.  Mouchoir  en  dentelle  et 

napperon.   Art  applique,  2e  annee,  Paris. 

697 —  Goldenberg,  S.  L. — Lace,  its  Origin  and  History.    New  York,  Brentano, 

1904.   B.  M. 

698 —  Gorges,  Mary — Irish  Home  Industries,  Point-Lace.    Chamber's  Journal, 

August,  1898,  London. 

699—  Gorman,  A.  L. — TenerifTe  Lace.  Harper's  Bazaar,  V.  37,  pp.  778-779,  862- 

863.   August-September,  1903.  ;         1  ^ 

700^ — Gormont — Livre  de  Moresques,  tres  utile  et  necessaire  a  tous  orfevres, 
tailleurs,  graveurs,  painctres,  brodeurs,  lingeres,  et  femmes  qui  besong- 
nent  de  l'esguille.  Paris,  Gormont,  1546.  In-folio,  avec  gravures  sur 
bois. 

701—  Goubaud,  Madame— Book  of  Guipure  d'art.  98  Illus.  4to.  Lond.  (1869.) 

S.  K.  M. 

702 —  Goubaud,  Mme.  A. — Book  of  Guipure  d'Art,    London,  Ward,  Lock  & 

Tyler,  1870. 

703—  Goubaud,  Mme.— Crochet  book.   London,  (1871).  8°. 

704 —  Goubaud,  Mme.  A. — Pillow-lace  Patterns,  and  Instructions  in  Honiton  Lace 

Making.   London,  1871. 

705 —  Goubaud,  Mme. — Point  Lace  Book.   Instructions  and  Patterns.  Illustra- 

tions.  8  v.   Lond.   n.d.    (1882.)    S.  K  M. 

706 —  Government  Lace  School,  France.    Craftsman,  V.  5,  p.  77. 


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297 


707^Grabowskii,  B.  B. — A  jour  or  Toledo  Embroidery.  Harper's  Bazaar,  V.  41, 
1241-1243,  December,  1907: 

708 —  Grabowskii,  B.  B. — Hedebo  and  Mont  Mellick  Work  Combined.  Ladies' 

Home  Journal,  V.  23,  p.  52,  January,  1906. 

709 —  Grafton,  A.  B. — Hindoo  Laces  at  St.  Louis  Fair.    Brush  and  Pencil  15: 

165. 

710 —  Grandes  Collection  de  Dentelles  Anciennes   et   Modernes,   Les — Album 

with  60  plates. 

711 —  Greef,  G.  de — L'Ouvriere  dentelliere  en  Belgique.  127  pp.  Bruxelles,  1888. 

16°.    B.  M. 

712 —  Griffin,  L.  B. — Norwegian  Work  on  Collars.   Harper's  Bazaar,  V.  38,  pp. 

714-716,  July,  1904. 

713—  Griffin,  L.  B. — Household  Laces.    Harper's  Bazaar,  V.  37,  pp.  373-375, 

April,  1903. 

714 —  Griffin,  L.  B. — Practical  Lace-Making.    Harper's  Bazaar,  V.  35,  pp.  659- 

661,  November,  1901. 

715 —  Griffin,  Montagu — Lace-making  in  Ireland.  The  Month,  March,  1891,  Lon- 

don. V.  71,  p.  340. 

716 —  Groh,  St. — Ungar.    dekorative  Kunst.    110  plates,  folio.    Budapest,  1907. 

Tafelbezeichngn.    in  engl.,  deutsch  und  ungar. 

717 —  Grosch,  H. — Gammel  norsk  vaeve kunst  i  farvetrykte  gjengivelser.  20 

plates,  $3.20.   Albert  Bonnier  Publishing  House. 

718 —  Grosch,  H. — Norsk  Folkeindustri.    Broderier.     Tids shrift   for  Kunstm- 

dustri,  1888,  Copenhagen. 

719 —  Guichard,  Edouard  et  Dareel  A. — Les  Tissus  anciens  reconstitues  a  PAide 

du  Costume,  des  Miniatures,  et  de  Documents  inedits.  Paris,  1878.  50 
plates,  folio. 

720 —  Guillemont,  M. — L 'Exposition  des  Arts  de  la  Femme  au  Musee  des  Arts 

Decoratifs.   Art  et  Decoration,  1911,  V.  29,  pp.  137-156. 

721 —  Guillot,  Ernest — L'Ornementation  des  Origines  au  XVIIIe  Siecle. 

722 —  Guipure,  gravures  burin — In  the  Bib.  Imp.  (Gravures,  L.  h.  4.  c.)  is  a  vol. 

lettered  "Guipure,  gravures  burin,"  containing  a  collection  of  patterns 
engraved  on  copper,  43  plates,  four  of  which  are  double,  pasted  in  the 
book  without  title  or  date.  Pomegranates,  narcissus,  lilies,  carnations, 
most  of  them  labelled,  "Kreutzstick,  Frantzosischenstick,  and  Fadenge- 
wiirck"  (thread  work),  the  number  of  stitches  given,  with  Clocks  (Zwick- 
el)  of  stockings  and  other  patterns.  Bien  que  sous  un  titre  frangais,  ce 
livre  parait  etre  d'origine  allemande. 

723 —  Guthrie,  J.  W. — Lace-making  Among  the  Indians.   Outlook,  V.  66,  pp.  59- 

62,  September  1,  1900. 

 H  

724 —  Haberlandt,  Michael — Textile  Volkskunst  aus  Osterichisch.    Vienna.  J. 

Lowy,  1912. 

725 —  Hadley,  S. — Bits  to  Make  for  Christmas.    Ladies'  Home  Journal,  V.  20, 

p.  23,  September,  1903. 


298 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


726 —  Hadley,  S. — Edgings  and  Insertions  in  Modern  Lace.  Ladies'  Horne  Jour- 

nal, V.  18,  p.  19,  July,  1901. 

727 —  Hadley,  Sarah — Hardanger  Book.    (Collection  of  Kursheedt  Mfg.  Co., 

N.  Y.) 

728 —  Hadley,  S. — How  to  Make  Flemish  Lace.   Ladies'  Home  Journal,  V.  19, 

p.  20,  Angust,  1902. 

729 —  Hadley,  S. — How  to  Make  Eoyal  Battenberg  Lace.  Ladies'  Home  Journal, 

V.  19,  p.  27,  October,  1902. 

730 —  Hadley,  S. — How  to  Make  Bussian  Lace.    Ladies'  Home  Journal,  V.  19, 

p.  22,  July,  1902. 

731 —  Hadley,  Sarah — Irish  Lace.   D.  S.  Benett.    (Collection  of  Kursheedt  Mfg. 

Co.,  N.  Y.) 

732 —  Hadley,  S. — Irish  Needle-point  Lace.   Ladies'  Home  Journal,  V.  23,  p.  57, 

June^  1906. 

733—  Hadley,  Sarah— The  Lace  Maker  Magazine,  Vol.  1-12.  D.  S.  Benett.  (Col- 

lection of  Kursheedt  Manufacturing  Co.,  N.  Y.) 

734 —  Hadley,  S. — Marie  Antoinette  Lac 3  Work.   Ladies'  Home  Journal,  V.  19, 

p.  18,  May,  1902. 

735 —  Hadley,  S. — Needle  Honiton  Lace.    Ladies'  Home  Journal,  V.  19,  p.  20, 

September,  1902. 

736 —  Hadley,  S. — Needle  Point  Lace.    Ladies'  Home  Journal,  V.  19,  p.  20,  June, 

1902. 

737 —  Hadley,  S. — New  Handkerchiefs  in  Modern  Lace.   Ladies'  Home  Journal, 

V.  18,  p.  19,  April,  1901. 

738 —  Hadley,  S. — Using  up  Old  Pieces  of  Lace.    Ladies'  Home  Journal,  V.  25, 

p.  43,  November,  1908. 

739 —  Haebler,  0. — Barbes  a  la  Main.   100  Origin alaufnahmen  Geschmacksricht- 

ung  des  XVIII  Jahrhunderts.   40  Tafeln.  1910. 

740 —  Haebler,  O. — Der  Spitzenzeichner.    Ca.  200  Originalentwiirf  e :    Aus  der 

Praxis— fur  die  Praxis.    20  Tafelin.    Plauen,  1910  (?). 

741 —  Hagen,  L. — Zur  Entwickelungsgeschichte  der  Kloppelspitze.    Zeitsch.  des 

Bayr.  Kunst-geiv .-V ereins  in  Miincken,  1895. 

742 —  Hailstone,  Lilla — Catalogue  of  Collection  of  Lace.    London,  1868. 

743 —  Hailstone,  S.  H.  Lilla — Designs  for  Lace  Making.   40  tinted  plates.  Lon- 

don, E.  J.  Francis,  1870. 

744 —  Hailstone,   Mrs.   S.  H.  Lilla: — Illustrated  Catalogue  of  ancient  framed 

Needlework  Pictures.   London,  Baines  &  Scarsbrook,  1897. 

745 —  Hairs,  Charles — The  crochet  collar  book.  London  (1846).  8°. 

746 —  Hale,  Lucretia  Peabody — Art  Needlework. 

747 —  Hale,  L.  P. — Designs  in  outline  for  Art  Needlework.    Accompanied  with 

instructions  in  drawing,  etc.,  patterns.   8vo.   Boston  (U.  S.)  1879. 
747a-Hale,  L.  P. — Plain  Needlework,  Knitting,  etc.  Plates.  8vo.  Boston  (U.  S.) 
1879. 

748 —  Hale,  Lucretia  Peabody — Point  Lace,  a  Guide  to  Lace  Work.    Boston,  S. 

W.  Tilton  &  Co.,  1879. 

749—  Hall,  Herbert  J.  &  Buck,  Mertice  M.   C— Handicrafts   for   the  Handi- 

capped. Moffat,  Yard  &  Co.,  New  York,  1916. 


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299 


750 —  Hammett,  Lydia  C,  at  Taunton — Dentelle  de  Honiton.    Art  applique,  2e 

annee,  Paris. 

751 —  Hammett,  Lydia  C,  at  Taunton — Projets  de  dentelles.    Art  applique,  Ire 

annee,  Paris. 

752 —  Han,  W.  and  Raben,  G. — Modelbuch  Neuw  allerart  Nehens  vn  Stickens, 

Yetsund  wider  mit  Modlen  vnd  Stahlen.  Allen  Steinmetzen,  Seidenfrick- 
ern,  vnnd  Neterin,  sehr  nutzlich  vnnd  lustig  zu  gericht.  Gedruckt  zu 
Franckfurt  am  Mayn  durch  Weygand  Han  vnd  Georg  Raben.  1562.  4°. 
B.  K.  M. 

753 —  Handarbeit — Spitze  in  Kloppelmanier.  Daheim,  July  8,  1893,  Leipzig. 

754—  Handicraft  in  Massachusetts.   Nation,  V.  78,  pp.  489-490,  June  23,  1904. 

755 —  Handkerchiefs  in  Princess  Louise  Lace.  Delineator,  V.  64,  p.  1012,  Decem- 

ber, 1904. 

756 —  Hand-made  Laces.    (1890.)    Cited  on  Bodleian  Library  Handlist  of  printed 

books  on  lace. 

757 —  Haner,  J.  L.  K. — In  Defence  of  Samplers.   Journal  of  Home  Econ.,  V.  1, 

pp.  354-355,  October,  1909. 

758—  Hardanger  Lace.    Delineator,  V.  63,   pp.   670-671,   872-873,  April-May, 

1904. 

759 —  Hardouin,  Mme. — Album  de  Broderie  et  de  Filet.   Manufacture  Parisienne 

des  Cotons  L.  V.  et  M.  F.  A. 

760 —  Hardouin,  Mme. — Album,  de  Dentelle  de  Venise. 

761 —  Hardouin — Album  de  Guipure  d'Irlande,  4  vols.     (Collection  of  Kur- 

sheedt  Mfg.  Co.,  N.  Y.) 

762 —  Harris,  E. — New  Duchesse  Lace.    Ladies'  Home  Journal,  V.  23,  p.  70, 

April,  1906. 

763 —  Harris,  E. — Novel  Laces.   Harper's  Bazaar,  V.  38,  pp.  69-71,  January, 

1904. 

764 —  Harris,  Wm.  Laurel — Laces  and  their  affiliation  with  architecture.  Illus. 

Amer.  Architect,  New  York,  1917.  fo  V.  112.    pp.  363-371. 

765 —  Harrison,  C.  C. — Woman's  Handiwork  in  Modern  Homes.  Scribners,  New 

York,  1882.    (Collection  of  Kursheedt  Manufacturing  Co.) 

766—  Harth,  Mrs.  Ernest— English  Laces. 

767 —  Harth,  Mrs.  Ernest— Irish  Laces.    The  Girl's  Own  Paper,  Aug.  29,  1891, 

London. 

768 —  Harth,  Mrs.  Ernest — Spanish,  Greek,  Maltese  and  Polish  Laces.  The  Girl's 

Own  Paper,  April  4, 1891,  London. 

769—  Hartshorne,  C.  H. — English  Medieval   Embroidery.     (Illus.)     16  mo. 

Lond.,  1848. 

770 —  Hastings,  School  of  Art — Cat.  of  Lady  Brassey's  Loan  Exhib.  of  ancient 

and  modern  lace,  fans,  etc.   8vo.    Hastings  (1882).    S.  K.  M. 

771 —  Haussmann,  Nicolaus — Eyn  new  Modelbuch  auff  aussnehen  vnd  borten 

wircken  yn  der  Laden  vh  langen  gestell,  Gemert  vnd  gebessert  mitt.  105. 
andern  Modem.  N.  H.  Anno  do  mini  1525.  (On  back  of  title-page)  :  Eyn 
Model  Buchleyn  darauss  leychtlich  das  gewurck  dises  nach  angezeygten 
Formen,  erlernet  werden  mag.  Gedruck.  yn  der  Fiirstlichen  Stadt  Zwickau 
durch  J  org  Gastel,  1525.   4°.   Title  and  16  leaves  (incomplete).    Said  by 


300 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


Professor  E.  Kumsch  to  be  the  oldest  Pattern-book  of  needlework  known; 
although  obviously  a  new  edition  of  one  still  older.  Six  of  the  plates  are 
copied  by  Claude  Nourry  (Lyons,  c.  1530).  It  is  described  in  "Kunst  und 
Handwerk"  VI,  p.  512,  1903.    D.  K.  S. 

772 —  Havard,  Henri — Dictionnaire  de  rameublement.  Paris. 

773 —  Hawkins,  D.  W. — Old  Point  Lace,  and  how  to  copy  and  imitate  it,  8vo. 

Lond.,  1878.   S.  K.  M. 

774 —  Head,  Mrs. — A  Collection  of  English  Samplers.    The  Connoisseur,  March, 

1902,  London. 

775 —  Head,  Mrs. — A  Note  on  Lace  Bobbins.   Connoisseur,  V.  10,  pp.  154-156. 

776 —  Head,  E.  H. — Some  Notes  on  Lace  Bobbins.    The  Reliquary,  July,  1900, 

London.   V.  40,  p.  172. 

777 —  Heiden,  Max — Aus  der  Spitzensammlung  des  Kunstgewerbemuseums  zu 

Berlin.   Kunstgewerbeblatt,  1888,  Leipzig. 

778—  Helbing,  Dr.  K. — Spitzen-Album.    Vienna,  v.  Waldheim,  1877. 

779 —  Helbing,    K. — Spitzen   Album.    20  blatt  Lichdrucke  mit  45  Spitzmustern, 

nach  den  originalen  herausgegeben  von  Dr.  K.  H.  fol.  Wien,  1882. 
S.  K.  M. 

780 —  Helmers,  E.  J. — Model  Buck  (Neues)  (Anderer  Theil)  von  unterschied- 

licher  Art  von  schoen  Nadereyen  Fadengewiirck  und  Paterleins-Arbeit. 
Obi.  4to.   Nurnberg,  1665.    S.  K.  M. 

781 —  Helmin,  Fr.  Margaretha — Kiinst  und  fleissiibende  Nadel  Ergotzungen  oder 

Neu  er  fundenes,  Nah  und  Stick  Biich  Vorin  dem  solche  schone  Wissenchaff  t 
lieben  dem  Frauen  zimmer  allerhand  zu  vielen  sachen  an  standige  muster 
und  kisse  nach  der  neuesten  Fagon  (sic)  zu  deren  nuklichen  badienung 
vorges  tellt  von  Fr.  Margaretha  Helmin  zu  finden  in  Nurnberg.  Bey. 
Joh.  Christoph  Weigel.  In-8°  oblong.  Le  titre  se  trouve  dans  un  en- 
tourage compose  de  roses,  de  tulipes,  de  fleurs  liees  en  bas  par  un  nceud 
de  rubans.  Preface  de  deux  pages,  terminee  par  un  cul-de-lampe  grave 
sur  bois.  A  la  fin  de  cette  preface  est  le  chiffre  52,  qui  est  celui  du 
nombres  des  planches  de  broderies.  La  premiere  est  un  alphabet  a  points 
comptes.  Des  modeles  de  tapisserie  dont  une  grande  planche  ployee.  Des 
planches  pour  des  petites  broderies  sur  mousseline.  Une  suite  de  grandes 
broderies  pour  soie,  satin,  modeles  de  rinceaux,  vases,  coupes,  fruits,  mo- 
deles de  robes  brodees,  etc.    Gravure  sur  cuivre,  XVII  siecle. 

782 —  Helmin,  F.  M. — Continuation  der  kunst-und  fleisz-ubenden  Nadel-Ergot- 

zung  oder  des  neu  ersonnenen  besondern  Nehe-Buchs  dritter  Theil,  wor- 
innen  fleiszige  Liebhaberinnen  deeser  nothig  und  nutzlichen  Wissenchaft, 
ihr  kunstliches  Nadel-Exercitium,  beij  unterschiedlich  vorfallenden  Bel- 
egenheiten  zu  haben  allerhand  noch  nie  vorgekonene  Muster  zu  Deso 
gebrauch,  vorlegt  und  en  die  Hand  gegeben  we r den  von  Fr.  Margaretha 
Helmin,  zu  finden  in  Nurnberg  bei  Joh  Christoph  Weigel.  Niirnburg.  No 
date.  Oblong  fol.    Copper  plates.    V.  &  A.  M. 

783—  Hempel— Spitzen  und  Spitzen-Motive.   Plauen,  C.  Stoll,  1909. 

784 —  Henon,  Henri — Exposition  de  Bruxelles,  1897.    Eapports  du  Jury  Classe 

154.   Eapport  de  M.  Henon.    Calais,  Impr.  des  Orphelins,  1897. 


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301 


785 —  Henon,  Henri — Exposition  de  1900  a  Paris.  Bapports  du  Jury,  Classe  84. 

Rapport  de  M.  H.  Henon.   Paris,  Impr.  Nationale,  1901. 

786 —  Henon,  Henri — L 'Industrie  des  Tulles  et  Dentelles  mecaniques  dans  le  De- 

partment du  Pas  de  Calais,  1815-1900.    Paris,  Belin  Frs.,  1900. 

787 —  Henry,  A. — Dentelles  a  fils  tires  de  Dinant.     Annates  Soc.  archeol.  de 

Namur,  1891,  Namur. 

788—  Hesson,  Addie  E. — Fancy  Work,  1905. 

789 —  Hieronimo,  da  Ciuidal  di  Frioli,  Fra — Triompho  di  lavori  a  fogliami  di  i 

quali  si  puo  far  ponti  in  aere.  Opera  di  Fra  Hieronimo  da  Ciuidal  di 
Frioli  de  l'ordine  de  i  serui  de  osseruantia.  Cum  gratia  et  privilegio  per 
anni.  XL  Ce  titre  est  inserit  sur  le  bas  de  la  page,  entre  trois  gravures 
sur  bois.  Celle  du  haut  qui  occupe  toute  la  largeur  de  la  page,  repre- 
sente  un  bas-relief  antique.  Une  femme  couronnee  de  lauriers,  est 
trainee  de  droite  a  gauche  dans  un  char  attele  de  deux  licornes,  et  entouree 
de  plusieurs  femmes  portant  des  couronnes  de  feuillage  a  la  main.  En 
tete  du  cortege,  deux  autres  femmes,  dont  Pune  joue  de  la  trompette. 
Des  deux  bois  lateraux  qui  encadrent  le  titre,  Pun  celui  de  gauche  rep- 
resente  une  femme  de  profil  a  droite  assise  et  montrant  un  ouvrage  de 
broderie  a  deux  petits  enfants  debout  a  .ses  pieds.  L  'autre  celui  de  droite 
represente  une  femme  assise,  de  profil  a  gauche,  montrant  egalement  un 
ouvrage  de  broderie,  a  une  femme  debout  a  cote  d'elle.  Dedicace:  Alia 
Magnifica  et  illustra  signora,  La  signora  Isabella  Contessa  Canossa  Fra 
Hieronimo  da  Ciuidal  di  Frioli.  Page  non  cotee,  Alia  Medema.  Fin  au 
verso.  Page  non  cotee,  L'autor  de  1 'opera  parla.  C'est  l'avis  au  lecteur. 
Au  verso,  une  marque  d'imprimeur  d'un  superbe  caractere.  Dans  un 
cartouche  entoure  de  cuirs  enroules,  un  lion  passant  de  profil  a  droite, 
debout  et  tenant  de  ses  deux  pattes  de  devant  une  epee  devant  lui.  Au~ 
dessous  du  cartouche :  In  Padoa,  per  Jacobo  Fabriano,  ad  instantia  de 
Fra  Hieronimo  da  Ciuidal  di  Frioli,  de  Pordine  de  i  sevui  di  Osservantia, 
MDLV  (1555).  22  dessins  de  broderies.  En  somme  14  feuillets  dont  11 
de  dessins.  Voir  le  catalogue  du  Marechal  d'Estrees,  tome  I,  n°  8843.  4° 
or  8°  oblong.    Bibliotheque  de  L 'Arsenal.    Bib  Comm.  Bologna. 

790—  Hill,  E.— Abigail's  Sampler:  poem.     St.  Nicholas.     V.  28,  pp.  306-307. 

February,  1901. 

791 —  Hind,  C.  L. — The  Progress  of  the  Industrial  Arts — Lace.     Art  Journal, 

1891,  pp.  87-92. 

792—  Hirth,  Geo.— Album  for  Ladies'  Work,  1882. 

793—  Histoire  de  la  Dentelle— par  M.  de— (Fertiault).  Paris,  Depot  Beige,  1843. 

795 —  Historische  und  die  neuzeitliche  Spitze  in  Muster-Beispielen,  Die — 24  Ta- 

feln..  Plauen,  C.  Stoll.  1909. 

796—  Hoare,  Kath.  L.— The  Art  of  Tatting.    Illus.    London,  etc.    1910.    la.  8°. 

797 —  Hochfelden,  Brigitta — Ebhardt's  Handarbeiten,  das  Kloppeln. 

798 —  Hochfelden,  Brigitta — Die  Handchenspitze.    (Point  Lace). 

799 —  Hoechstaedter,  J.  N. — Broderie  Russe  et  Hongroise. 

800 —  Hoepli,  Ulrico — Pizzi  antichi  di  Cesare  Vecellio  con  una  introduzione  di  A. 

Melani.    Milan,  U.  Hoepli,  1886.    See  1816. 

801—  Hoffman,  Julius— Auswahl  von  Motiven  aus :    "Der  Moderne  Stil."  1906. 


302 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


802 —  Hofinann,  Prof.  E. — Moderne  Spitzen,  entworfen  in  der  Koniglichen  Kunst- 

schule  fiir  Textilindustrie  in  Plauen.    Plauen,  C.  Stoll.    20  plates. 

803 —  Hofman,  E. — Muster  fiir  Textil-Industrie,  serie  v.    Plauen,  Chr.  Stoll,  n.d. 

804 —  Hofman,  E. — Muster  fur  Textil-Industrie,  serie  ii.    Plauen,  C.  Stoll,  n.d. 

805 —  Hofman,  E. — Spitzen  aus  dem  Museum  der  Konigl.    Kunst-Schule  fiir  Tex- 

til-Industrie zu  Plauen  i.    V.  Plauen,  Chr.  Stoll,  n.d. 

806 —  Hofman,  E. — Stilisirte  Pflanzenforme,  etc.  .  .  .  serie  i,  Spitzen.  Plauen, 

Chr.  .  Stoll,  n.d. 

807 —  Hofmann,  E. — Weltausstellung,  Paris,  1900.    Die  Vogtlandische  Spitzen- 

S ticker ei  und  Gardinen-Industrie.    Plauen,  C.  Stoll,  n.d. 

808 —  Hoffman,  H. — New  Modelbiich,  alien  Nagerin,  unnd  Sydenstickern  sehr 

nutzlich  zii  branche,  vor  nye  in  Dr  uck  aussgangen  durch  Hans  Hoffman, 
Burger  und  formschneider  zu  Strassburg.  At  the  end,  Zu  Strassburg 
Gedruckt  am  Kommarckt  durch  Jacob  Frolich.  1556.  4to.  A  to  G  in 
fours.  (28  leaves.)  Title  printed  in  red  and  black.  On  it  a  woodcut  of 
two  women,  one  engaged  in  embroidery,  the  other  fringing  her  some  stuff. 
The  last  leaf  (Giiii.)  has  on  the  recto  a  woodcut  of  a  woman  at  a  frame, 
the  verso  blank.    Mr.  E.  Arnold. 

809 —  Hoffman,  Wilhelm — Gantzen  Modelbuch  Kunstlicher  und  lustiger  Bistrung 

und  muster.  ...  &  Durch  Willhelm  Hoffman  Formenschneidern.  Franc- 
fort.  MDCVII  (1607.)  Ouvrage  contenant  des  modeles  d'encognures  et 
de  frises  pour  broderies.  Dessins  blancs  sur  fond  noir.  Ces  modeles  sont 
tres  remarquables.  En  1876,  le  musee  de  Vienne  en  a  reproduit  20  pieces, 
dont  1  serie  dans  le  S.  K.  M.  Voire  Guilmard. 

810 —  Hoffmann,  Wilhelm — Gantz  new  Modelbuch,    Kunstlicher    vnd  lustiger 

Visirung  vnd  Muster  von  allerhand  schoner,  artiger  Zugen  vnd  Blum- 
werck,  zu  jetzt  gebrauchlichen,  zierlichen.  Italianischen,  Frantzosischen, 
Teutchen  vnd  Engellandischen  Oberschlagen;  So  wol  Sendenstickern, 
Sammetschneidem,  vnd  Natherinnen,  als  auch  Schreinern,  Bilthauern  vnd 
dergleichen  so  zu  solcher  Kunstlicher  Arbeit  lust  vnd  gef alien  tragen, 
furgerifTen  vnd  fur  Augen  gestellt  Durch  Wilhelm  Hoffman  Formen- 
schneidern. GetrucM  zu  Franchfurt  am  Mayn,  in  Verlegung  gemeltes 
Wilhelm  Hoffmanns.  M.  DC.  VII.  Fol.  Title  and  18  cuts.  (Munster 
reproduction.) 

811 —  Hoffman,  Wilhelm — Newes  vollkommenes    Modelbuch    von  vierhundert 

schonen  Ausserwehlten,  Kiinstlichen  vnd  aussgeschnittenen,  so  wol  Ital- 
ianischen, Frantzosischen,  Niderlandischen,  Engellandischen,  als  Teutschen 
modeln,  dergleichen  zuvor  niemals  gesehen  worden,  zugerichtet,  vnd  jet- 
zund  zum  Ersten  mal,  in  dieser  bequemlichen  Form  in  Truck  gegeben. 
Allen  Nahterin,  Seidenstickerin,  Schreinern,  Steinmetzen,  auch  zuchtigen 
Frawen  vnd  Jungfrawen,  zu  Nutz  vnd  freundlichem  Wolgefallen.  Get- 
rucM zu  Franchfurt  am  Mayn,  in  Verlegung  Wilhelm  Hoffmanns,  Anno 
1604.  Fol.  Title  and  17  cuts.  (Wasmuth  reproduction.)  Eeprinted, 
1878.    Also  reprinted  Berlin,  1871  and  1891.    1891  reprint  in  B.  M. 

812 —  Hoffman,  W. — Gantz  new  Modelbuch,  kunstlicher  und  lustiger  Visirung  und 

Muster  von  allerhand  schoner,  artiger  Ziigen  und  Blumwerck,  etc.  (19 


BIBLIOGRAPHY 


303 


plates,  including  title.)  Obi.  fol.  Franckfurt  am  Mayn,  W.  Hoffman,  1607. 
Eeprint,  Ongania,  Venice,  (1878.)    S.  K.  M. 

813 —  Hofer,  Hans  (Brief maler) — New  Formbuechlein   der   Weyssen  Arbeyt. 

Augsburg,  1545.  Quer-4.  40  doppelseitig  bedruckte  Bll.  mit  80  Stick- 
mustern. 

814 —  Holme,  Charles — Peasant  Art  in  Austria  and  Hungary.    The  Studio,  1911. 

815 —  Holme,  Charles — Peasant  Art  in  Eussia.     Special  Number  of  the  Interna- 

tional Studio,  1912. 

816 —  Holme,  Charles — Peasant  Art  in  Sweden,  Lapland  and  Iceland.    The  Stu- 

dio, 1910. 

817 —  Homann,  Elizabeth — Spitzenstudien  aus  Venedig.    Kunstgewerbeblatt,  No- 

vember, 1896,  Leipzig. 

818 —  Honiton  Lace — Article  from  the  " Gentleman's  Magazine,"  Jan.,  1871.  8vo. 

London,  1871.    S.  K.  M. 

819 —  Honiton  Lace.    Every  Saturday.    V.  10,  p.  275. 

820 —  Honiton  Lace — The  Leisure  Hour,  August,  1869,  London.    V.  18,  p.  539. 

821 —  Honiton  Lace — The  Gentleman's  Magazine,  January,  1871,  London. 

822 —  Honiton  Lace — The  Saturday  Review,  Jan.  28,  1888,  London.    V.  65,  p.  101. 

823 —  Honiton  Lace  and  the  Technical  Grant.  Saturday  Review,  December,  1891, 

London. 

824 —  Honiton  lace  book,  The :  the  second  and  enlarged  edition  of  Honiton  lace- 

making.    London  (1875).  8°. 

825 —  Honiton  lace-making.  London,  (1873).  8° 

826 —  Hooper,  E.  M. — -Teaching  a  Child  to  Sew.    Ladies  Home  Journal.    V.  17, 

p.  32,  November,  1900. 

827—  Hope,  Mrs.  G.  C— Six  Square  Doyleys  in  Crochet.  (1848.) 

828 —  Housiaux,  Emile — Une  Societe  belge-americaine.     L 'Industrie  dentelliere 

et  l'eglise  catholique.    Le  Peuple,  Aug.  11,  1903,  Brussels. 

829 —  How  Cushion  Lace  Was  Invented.     Chamber's  Journal,  Nov.  24,  1860, 

London. 

830 —  How,  J.  W. — Florentine  Bags.    Harper's  Bazaar.    V.  45,  p.  423.  Sept. 

1911. 

831 —  Howarth,  M. — How  to  Care  for  Eeal  Lace.    Harper's  Bazaar.    V.  46,  p. 

639.    December,  1912. 

832 —  Hrdlicka,  J. — Col,  eventail,  etc.     L'Art  decoratif,  November,  1901,  Paris. 

833—  Hrdlicka,  J. — Entwiirfe  Fur  Moderne  Spitzen.  Stuttgart,  1902.  30  plates. 

834 —  H.  S.,  Huquet  y  Crexells — Pilar.    Historia  y  Technica  del  Encaje,  172  pp., 

34  plates,  Madrid,  1914. 

835 —  Hubert,  E. — Le  voyage  de  Joseph  II  dans  les  Pays-Bas  en  1781. 

836 —  Hudson  (O.) — Eeport  on  cotton  print  works  and  lace-making.    See  First 

report  of  Department  of  Practical  Art,  1853,  pp.  367-368-.  8vo.  Lond., 
1853. 

837 —  Huish,  Marcus  B. — Samplers  and  Tapestry    Embroideries.     2  editions. 

Longmans  Green  &  Co.,  1900. 

838 —  Hunter,  George  Leland — Laces,  Their  Origin,  Design  and  Manufacture. 

Good  Furniture,  April,  1917.    Vol.  8,  pp.  199-212. 


304 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


839 —  Ilg,  Albert — Greschichte  und  Terminologie  der  alten  Spitzen.    Vienna,  Leh 

mann  and  Wentzel,  1876.  Contains  the  introduction  verbatin  of  "Pattern- 
book"  by  "R.  M."  published  by  ChristofT  Froschower,  Zurich. 

840 —  Improved  state  of  the  plan  for  establishing  manufactories  of  Blond  and 

Black  silk  and  thread  Lace,  An.   No  place  or  date. 

841 —  l'lndustrie  de  la  dentelle  en  Boheme.    Revue  Scientifique,  1903. 

842 —  l'lndustrie  dentelliere — La  dentelle  a  la  main.    Pour  eviter  sa  decheance. 

Un  concours.    Bull.  Metiers  d'art,  1905.  Brussels. 

843 —  Ingalls,  J.  F. — Hand  book  of  crochet  and  knitted  lace.    J.  F.  Ingalls,  Lynn, 

Mass.,  1883.    (Collection  of  Kursheedt  Manufacturing  Co.) 

844 —  Irish  Lace — The  Magazine  of  Art,  August,  1883,  London.    V.  6,  p.  438. 

845 —  Irish  Lace.    The  Spectator.    V.  56,  p.  864. 

846 —  Irish  Lace — Report  of  Committee  on  Education.  London,  1887,  fol.  B.  M. 

847 —  Irish  Lace  at  the  Mansion  House — The  Saturday  Review,  July,  1883,  Lon- 

don. 

848 —  Irish  Lace  Makings — The  Saturday  Review,  July  7,  1888,  London. 

849 —  Irwin,  Elisabeth  A. — Lace  Makers  of  the  Italian  Quarter  of  New  York. 

Craftsman.    V.  12,  pp.  404-409. 

850 —  Italienisches  Spitzenmuster  aus  dem  Anfange  des  XVII.  Jahrhunderts. 

Blatter  fur  Kunstgewerbe,  1877,  Vienna. 

851 —  L,  Jr.,  W.  M.  (W.  M.  Ivins?  Jr.) — "Ornament"  and  the  Sources  of  Design 

in  the  Decorative  Arts.  Bulletin  of  the  Metropolitan  Museum  of  Art, 
New  York,  February,  1918.    p.  35. 

852 —  Jackson,  Mrs.  F.  Nevill — Cravats.    The  Connoisseur,  August,  1904,  Lon- 

don.   V.  1,  pp.  226-232. 

853 —  Jackson,  Mrs.  F.  Nevill — Ecclesiastical  Lace,  Ancient  and  Modern.  Bur- 

lington Magazine.    V.  4,  pp.  54-64. 

854 —  Jackson,  Mrs.  F.  Nevill — The  Evolution  of  Alengon  Lace.  Connoisseur, 

1901.    V.  1,  pp.  219-223. 

855 —  Jackson,  Mrs.  F.  Nevill — A  History  of  Hand-made  Lace.    London,  L.  Up- 

cott  Gill,  1900.    B.  M. 

856 —  Jackson,  Mrs.  F.  Nevill — Human  Figures  in  Lace.    Connoisseur.    V.  4,  pp. 

183-187. 

857 —  Jackson,  Mrs.  F.  Nevill — Lace  of  the  Van  Dyke  Period.    Connoisseur.  V. 

2,  pp.  106-115. 

858 —  Jackson,  Mrs.  F.  Nevill — On  the  Wearing  of  Old  Lace.    The  Lady's  Realm, 

August,  1899,  London. 

859 —  Jackson,  Mrs.  F.  Nevill — The  Romance  of  Lace.    The  Lady's  Realm,  Jan- 

uary, 1902,  London. 

860 —  Jackson,  Mrs.  F.  Nevill — Royal  Lace.    The  Ladies  Field,  June,  1904,  Lon- 

don. 

861 —  Jackson,  Mrs.  F.  Nevill — Ruffs.    The  Connoisseur,  July,  1903,  London. 


BIBLIOGRAPHY 


305 


862—  Jackson,  Mrs.  F.  Neville-Wedding  Veils.    The  Lady's  Realm,  Jnne  1899, 

London. 

863 —  Jacques,  G.  M. — Nouvelles  dentelles  viennoises.     L'Art  decor  atif,  May, 

1902,  Paris. 

864 —  Jamnig,   C.  and  Eichter,  A. — Die  Technik  der  gekloppelten  Spitze.  Or- 

iginal Entwurfe  und  Ausfuhrungen  nach  Spitzensorten  systematisch 
geordnet,  etc.  (41  photo,  plates,  with  text.)  fol.  Wien,  1886  or  1885. 
S.  K.  M. 

865 —  Jamnig,  Carl  and  Eichter,  Adelaide — Vienna  Manual. 

866 —  Jannasch,  E. — Die  Textilindnstrie  bei  den  Ur-und  Natur-volkern. 

867 —  Jean  le  Maistre  Tailleur — Eecueil  de  Plvsievrs  pieces  de  pourtraicture, 

tres  vtiles  &  necessaires  generalement  a  tons  Orfeures,  Taillenrs,  Gra- 
ueurs,  Damasquineurs,  Sculpteurs,  Paintres,  Brodenrs,  Tapissiers,  Tisso- 
tiers,  Couturiers,  Lingieres,  et  autres.  A  Lyon,  par  lean  Le  Maistre 
Tailleur,  d'histoires,  demeurant  en  rue  merciere  et  par  Anthoine  Voulant, 
1565.  Sur  ce  titre  un  medaillon  ovale  contenant  une  Minerve,  en  casque 
et  cuirasse,  de  %  a  droite,  tete  de  profil  de  ce  cote,  une  lance  a  la  main,  dont 
la  pointe  s'appuie  par  terre,  an  bas  du  tronc  d'un  olivier.  Un  des  reje- 
tons  de  cet  olivier  s 'enlace  autour  de  la  lance  de  cette  deesse.  A  gauche 
un  dragon  fantastique.  Sur  la  b ordure  du  medaillon,  qui  est  partagee  en 
six  compartiments,  on  voit  un  mouton,  une  branche  d'arbre,  une  corne 
d'abondance,  un  paon,  deux  epees  croisees  et  un  serpent.  Au  milieu  de 
la  page  et  coupes  en  deux  par  le  medaillon,  les  mots :  De  grand — Labour. 
Vient. — Abondance.  Bibliotheque  Nationale. 

868 —  Jessen,  Dr.  P. — Das  Stickmusterbuch  des  Andreas  Bretschneider.  Kunst- 

gewerbeblatt,  1891,  Leipzig. 

869 —  Jesurum,  Michel-Angelo — Cenni  storichi  sulP  industria  dei  Merletti.  Ven- 

ice, 1873. 

870 —  Jesurum  Eeproductions — since  1910.    In  J.  P.  Morgan  Library. 

871 —  Jobin,  B. — New  Kunstlichs  Modelbuch,  von  allerhand  artlichen  vn  gerech- 

ten  Modeln  aufT  der  Laden  zu  wircken,  oder  mit  der  zopfTnot  creutz  vnd 
Judenstich  vnd  anderer  gewonlicher  weif  s  zu  machen :  Allen  model  Wiirck- 
erin,  Naderin  vnd  solcher  modelarbeit  geflissenen  Weibebildern  sehr 
dieustlich  vnnd  zu  andern  mustern  anleytlich  vnnd  verstandig.  AulT  ein 
newes  weder  getriickt  vnd  mit  vielen  newer  model  gemehret.  Mit  Eom. 
Keys.  May.  Freyheit.  Bey  B.  Jobin.  (Strasburg.)  In-4°  oblong.  48 
feuillets,  le  dernier  est  blanc.  Un  titre,  un  feuillet,  contenant  des  vers  et 
45  planches  de  broderies  imprimees  au  recto  seulement. 

872 —  Jobin,  B. — New  Kunstlichs  Modelbuch.  Von  allerhand  artlichen  vn  gerech- 

ten  modeln,  auf  der  Laden  zu  wircken,  oder  mit  der  ZopfTnot,  Kreutz  vnd 
Judenstich  vnd  anderer  gewonlicher  weiss  zu  machen ;  Allen  Modelwurck- 
erin  Eaderin  vnd  solcher  Modelarbeyt  geflissenen  Weibsbildern  sehr 
dienstlich  vnd  zu  andern  Mustern  anleytlich  vnd  vorstandig.  Dissmals 
erstlich  gegenwartiger  fleissiger  gestalltantag  geben  mit  Keys.  May. 
Freiheyt.    Bey  B.  Jobin.    1579.   4°  45  cuts.    B.  K.  M. 

873—  Jobin,  B.— New  Kunstlichs  Modelbuch— [Another  edition  of  No.  872.]  1589. 

B.  K.  M. 


306 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


874 —  Jobin,  B. — New  Kiinstlichs  Modelbucli— [Another  edition  of  No.  872.]  Auff 

ein  newes  wider  getruckt  vnd  mit  vielen  newer  Model  gemehret-  mit-  Rom. 
Keys.  May.  Freyheit.  Bey  B.  Jobin.  1600.  (Strassburg.)  4to.  obi. 
45  plates.    B.  K.  M. 

875 —  Jobin,  Bernhart — New  Modelbuch  fon  Allerhand  sonderbarn  schonen  mo- 

deln  von  der  ietz  gebrenchliche  durch  geschnittener  arbeit  dnrch  h.  Vinciolo 
ein  venediger  angeordnet.  Jetzt  aber  alien  Frawen  Jungfrawen  Naherin- 
nen  nnd  dergleichen  Kunstgeflissen  en  Personen  zn  sondern  vor  stand 
anffs  new  mit  vermehrung  nnd  bessernng  viler  schoner  nnd  lnstiger  mo- 
deln  in  trnck  gefertiget  nnd  an  tag  gebracht.  Mit.  Rom.  Keyserlicher 
Majestat  freyheit.  Getruckt  zn  Strasburg  bei  Bernhart  Jobin.  Anno 
1592.  In-8°  oblong.  Titre  imprime  en  rouge  et  noir,  an  milien  d'un  en- 
cadrement  forme  de  modeles  de  point  coupe  et  de  dentelles.  Rien  an  verso. 
)  :(2  Le  verso  et  le  recto  de  cette  page  contiennent  nne  dedicace  anx  fem- 
mes.  Des  denx  cotes  de  cette  dedicace  an  verso  et  an  recto,  deux  petits 
nielles  verticaux  rectangulaires.  )  :(3  Planche  de  broderie.  Bibliotheqne 
Nationale. 

876 —  Jobinns — New  Modelbnch  von  allerhand  sonderbarn  schonen  modeln  von 

jetz  gebreuchliche  dnrch  geschnittener  arbeit  dnrch  h.  Vinciolo  ein  vene- 
diger angeornet.  Jetzt  aber  alien  Frawen  Jnngfrawen  naherin  vnd  der 
gleichen  Knnstgeflissenen  Personen  zn  sonderm  verstand  anfTs  new  mit 
vermehrung  vnd  besserung  viler  schoner  nnd  lnstiger  Modeln  in  Trnck 
gefertiget  iend  an  tag  gebracht.  Mit  Rom.  Keyserlicher  Mayestat  frey- 
heit. Getrnckt  zn  Strasbnrg  bey  Jobinns  Erben,  an  1596.  In-8°  oblong. 
Titre  ronge  et  noir  dans  nn  encadrement  forme  de  petits  carreanx  et 
bandes  de  gnipnre.  Rien  an  verso.  Page  snivante  cotee  )  :(2.  Une  piece 
de  vers.  Verso,  fin  de  la  piece  de  vers.  Pnis  commencent  les  broderies 
imprimees  senlement  an  recto,  sauf  anx  6  dernieres  planches  on  le  verso 
en  contient  anssi.  Ces  broderies  reprodnisent  presqne  tontes  des  motifs 
de  Vinciolo.    44  fenillets  et  48  planches  de  broderies.    B.  M. 

877 —  Johnson-Browne,  E.  F. — On  Lace-Making  in  Belgium.  The  Catholic  World, 

Jnly,  1900,  New  York.    V.  71,  pp.  443-459. 

878 —  Johnston,  Mrs.  J.  B. — A  Short  Historical  Sketch  on  Lace.     New  York, 

1895. 

879 —  Jones,  O. — Grammar  of  ornament.    (Embroidered   and  woven  fabrics, 

Plates  50,  51,  52  and  55,)  2  vols,  fol.  Lond.,  1856.  Other  editions.  Fol. 
Lond.,  1865  and  1868.    S.  K.  M. 

880—  Joor,  H.— Decoration  of  Darning.    Delineator.    V.  79,  p.  411,  May,  1912. 

881 —  Jorsin  &  Sauvage — Esqnisses  [Paris,  19.  .  ?]. 

881a-Jorsin  &  Sauvage — Formes  d 'Orient  a  1 'usage  des  dessinateurs  en  broderie 
des  fabricants  de  dentelles  et  de  soieries  [Paris,  19.  .  ?]. 

882 —  Jouclard,  Mile.  A.  L.,  at  Paris — Rideau  et  brise-bise.     Art  applique,  Ire 

annee,  Paris. 

883—  Jourdain,  M.— Alencon.    Connoisseur.    V.  14,  pp.  92-96,  145-148. 

884 —  Jourdain,  M. — Argentan  Lace.    C onnoisseur.    V.  15,  pp.  117-122. 

885 —  Jourdain,  M. — Brussels  Lace.    Connoisseur.    V.  20,  pp.  195-201. 


MBLlO  g  ra  pit  y 


307 


886 —  Jourdain,  M. — Outwork  and  Punto  in  Aria.    Connoisseur.    V.  11,  pp.  13- 

17,  98-103. 

887 —  Jourdain,  M. — Drawn  Thread  Work  and  Lace.    Connoisseur,  1904.    V.  10, 

pp.  235-237. 

888 —  Jourdain,  M. — English  Lace.    Connoisseur.    V.  16,  pp.  151-154. 

889—  Jourdain,  M. — English  Pillow  Lace.     Connoisseur.     V.  20,  pp.  266-270. 

April,  1908  and  following  issues. 

890 —  Jourdain,  M. — English  Pillow  Lace.    Connoisseur.    V.  21,  pp.  81-86. 

891 —  Jourdain,  M. — English  Pillow  Lace.     Connoisseur.     V.  30,  pp.  266-270. 

April,  1908  and  following  issues. 

892 —  Jourdain,  M. — Gold  and  Silver  Lace.     Connoisseur.     V.  17,  pp.  9-12,  92- 

96. 

893 —  Jourdain,  M. — Italian  Lace.    Art  Workers  Quarterly.     V.  3,  No.  11,  pp. 

105-109. 

894 —  Jourdain,  M. — Italian  Pillow  Lace.    Connoisseur,  1906.    V.  15,  pp.  171-175. 

895 —  Jourdain,  M. — Lace  as  worn  in  England  until  the  Accession  of  James  1st. 

Burlington  Magazine,  1906.    V.  10,  pp.  162-168. 

896 —  Jourdain,  M. — The  Lace  Collection  of  Mr.  Arthur  Blackborne.     Part  I. 

The  Burlington  Magazine,  September,  1904.  Part  II,  Later  Punto  in 
Aria.    The  Burlington  Magazine,  October,  1904,  London. 

897 —  Jourdain,  M. — Lace  in  the  Collection  of  Mrs.  Alfred  Morrison  at  Fouthill. 

Burlington  Magazine,  1903.    V.  2,  pp.  95-103. 

898 —  Jourdain,  M. — Lace  Making  in  Spain  and  Portugal.  Connoisseur,  1903.  V. 

7,  pp.  244-247,  Part  I;  V.  8,  pp.  9-12.    Part  II. 

899 —  Jourdain,  M. — Mechlin  and  Antwerp  Lace.    Connoisseur,  1907.    V.  19,  pp. 

103-108. 

900 —  Jourdain,  M. — Milanese  Lace.    Connoisseur.    V.  16,  pp.  36-41. 

901 —  Jourdain,  M. — Old  Lace,  a  Hand-Book  for  Collectors.  London,  B.  T.  Bats- 

ford,  1908.    B.  M. 

902 —  Jourdain,  M. — Point  de  Venise  a  Reseau.    Connoisseur,  1905.    V.  13,  pp. 

40-43. 

902a — Jourdain,  M. — Valenciennes  Lace.    Connoisseur.     V.  13,  pp.  81-84,  169- 
170. 

903—  Jourdain,  M. — Venetian  Needlepoint  Lace.    Connoisseur.    V.  12,  pp.  145- 

151,  241-246. 

904 —  Joyce,  T.  A. — Central  African  Embroidery.  Burlington  Magazine.  V.  21, 

pp.  80-91,  May,  1912. 

905 —  Juillien,  Mme.  H.  H.  de — Manuel  de  dentelles  aux  Fuseaux.  Neuchatel, 

Switzerland. 

906 —  Kahrn,  A. — New  Model  buch  Darinnen  zum  nehen  allerhandt  schone  newe 

Modelen  zu  finndenn  seinn.  Durch  Andream  Kahrn  zu  Kuppfer  gebracht. 
Anno  Doi  1626.   Title  and  49  engravings,  signed  A.  K.    B.  K.  M. 

907 —  Kalesse,   E. — Romische   Stickereinen.    "Kunst  und  G-ewerbe,"  Vol.  XIX., 

p.  44.    4to.    Nurnberg,  1885.    S.  K.  M. 

908 —  Kantwerk  uit  het  laatst  der  17e  eeuw.    Amsterdam,  1877. 


308 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


909 —  Kantwerkschool  on  der  de  Zinspreuk:     "Doet  wel  en  ziet  niet  om." 

Gevestigd  to  Sluis,  in  Zeeland,  5de-9de  Verslag  (1858-1862).  (Middle- 
bourg,  J.  C.  et  W.  Altorffer.) 

910 —  Katalog  der  in  Germanischen  Museum  befmdlichen  Gewebe  und  Stickereien, 

etc.    Nuremberg,  1869.    20  plates. 

911 —  Kaufmann,  Hartwig — Battist-Taschentuch  mit  Nadelspitze  ausgefuhrt  zu 

Schneeberg.    Zeitschr.  des  Bayr.    Kunstgew.    Verein  in  Munchen,  1889. 

912 —  Kay,  P. — Embroidered  Filet  Curtains.    Harper's  Bazaar.    V.  40,  pp.  561- 

563,  June,  1906. 

913 —  Kellogg,  C. — Artistic  Household  Needlework.     Harper's  Bazaar.     V.  40, 

pp.  271-273,  March,  1906. 

914 —  Kellogg,  Charlotte — Women  of  Belgium.     Funk  &  Wagnalls,  1917,  New 

York. 

915 —  Kendriek,  A.  F. — English  Embroidery.    London,  G.  Newnes,  1904. 

916—  Kerzman,  M.  L. — Drawn  work.    N.  Bristow,  N.  Y.,  1883.    (Collection  of 

Kursheedt  Manufacturing  Co.,  N.  Y.) 

917—  Kerzman,  M.  L.— Fine  Crochet  Work.    N.  Bristow,  1883.    (Collection  of 

Kursheedt  Manufacturing  Co.) 

918—  Kerzman,  M.L.— How  to  Crochet.    N.  Bristow,  1883.    (Collection  of  Kur- 

sheedt Manufacturing  Co.) 

919—  Kerzman.  M.  L.— Maltese  or  Hair-pin  Crochet  Work.    N.  Bristow,  1883. 

(Collection  of  Kursheedt  Manufacturing  Co.) 

920 —  Kerzman,  M.  L. — Miscellaneous  Designs  for  Crochet  Work.    N.  Bristow, 

1883.    (Collection  of  Kursheedt  Manufacturing  Co.) 

921—  Kerzman,  M.  L.— Twine  Crochet  Work.    N.  Bristow,  1883.  (Collection 

of  Kursheedt  Manufacturing  Co.) 

922 —  K.,  F. — Question  of  Lace  Making.    International  Studio.    V.  47,  pp.  324- 

326,  October,  1912. 

923 —  King,  Eleanor  G.,  at  Bradford — Barbe.    Art  applique,  Ire  annee,  Paris. 

924 —  Kingsley,  B.  G. — Flemish  embroideries,  old  and  new.    "The  Art  Jour." 

1887.  S.  K.  M. 

925 —  Kingsley,  B.  C. — A  Lace  School  at  Bruges.    Art  Journal,  1887,  pp.  81-84, 

V.  39. 

926 —  Kissell,  Mary  Lois — Papago  and  Pima  Indians.     An  account  of  original 

point  lace.  Published  in  pamphlet  form  by  the  Museum  of  Natural  His- 
tory, N.  Y. 

927 —  Kleinpaul,  Dr.  Joh. — Sachsische  Relief spitzen-Kloppelei.    Illustrirte  Zei- 

tung,  April  18,  1901,  Leipzig. 

928—  Klickmann,  F.— The  Modern  Crochet  Book.  (1914). 

929 —  Kloppelei — Baheim,  1895,  Leipzig. 

930 —  Kloppelspitzen ;  hrsg.  von  der  Kgl.  Zeichenschule   fur   Textilindustrie  u. 

Gewerbe  zu  Schneeberg.   Plauen,  C.  Stoll,  1912  (1). 

931 —  Knitter's  Note-book.   62  pages.   London,  1890.   In  British  Museum. 

932 —  Knobe,  B.  D. — Lace-makers  of  Belgium.    Woman's  Home  Companion,  Y. 

31,  p.  47,  August,  1904. 

933 —  Koch,  Marie — Hardanger  Art  Embroidery.  (Collection  of  Kursheedt  Man- 

ufacturing Co.,  N.  Y.) 


BIBLIOGRAPHY 


309 


934 —  Kohlsaat,  Amy  M. — Old  Lace  Manual.   New  York,  privately  printed,  1910. 

935 —  Kossatchewa,  0.  P. — Ukrainskie  ornament.   (Plates.)   Fol.  Kiejv,  1877. 

936 —  Koula,  Jan — Choix  de  Broderies  popnlaires  tcheques  dn  Musee  Industriel 

Naprstek.    Prague,  F.  Simacka,  1893. 

937 —  Kraft,  Prof.  Max — Die  neue  Kloppelmas  chine  von  Aug.  Ma  tits  ch.  Dingl- 

ers  Politechnisches  Journal,  May  28,  1897,  Stuttgart. 

938 —  Krai,  Joseph — De  la  dentelle  au  fuseau  en  Boheme  (en  tcheque).  Vrych- 

nove,  Ch.  Eathouskeho,  1894. 

939 —  Krame,  Mrs.  T. — Circular  Drawn- work.    Ladies  Home  Journal,  V.  23,  p. 

58,  June,  1906. 

940 —  Kretz,  Fr. — Kapitola  o  Krajkarstvi    ceskoslovenskem    (De    la  dentelle 

tcheque  ou  slave).    Cesky  Lid  (Le  Peuple  tcheque),  1899,  Prague. 

941 —  Kretz,  Franz — Maerish-Slovakische  Hauben.   Vienna,  Ant.  Schroll  &  Co., 

1902. 

942 —  Kretz,  Franz — Slowakische  Netzarbeiten.    Zeitschrift  fur  osterreichische, 

Volkskunde,  1901,  Vienna. 

943 —  Kreuzmann,  Moritz — Dentelles  Veritables.     Nouveau   Choix   de  Points 

divers.    30  planches.  Zurich. 

944 —  Kuehn,  N. — Colored  Patterns  for  Cross-stitch  Work.  9  photographs.  (Col- 

lection of  Kursheedt  Manufacturing  Co.,  N.  Y.) 

945 —  Kuehn,  N. — Cross-stitch  embroidery  book.    Vols.  221,  1892,  12.  Kuehn, 

Berlin.    (Collection  of  Kursheedt  Manufacturing  Co.) 

946 —  Kumsch,  E. — Das  alteste  aller  bekannten  Modelbucher.  Kunst  und  Kunst- 

handwerk,  N.  12,  1903.  Vienna. 

947 —  Kumsch,  E. — Laces  and  Embroidery  on  Linen,  16,  17  and  18  Centuries.  50 

plates. 

948 —  Kumsch,  E. — Spitzen  und  Weiss-Stickerei.   50  plates.   Stengel  &  Markert, 

1889.    (Collection  of  Kursheedt  Manufacturing  Co.) 

949 —  Kunig,  L. — Fewrnew  Modelbuch,  Van  allerhandt  Kunstlicher  Arbeidt,  nam- 

lich  Gestrickt,  Aussgezogen,  Aussgeschnitten,  Grewiesslet,  G-estickt,  Gew- 
irckt,  vnd  Geneyt;  von  Wollen,  Garn,  Faden,  oder  Senden;  auss  der 
Laden,  vnd  Sonderlich  auss  der  Eamen.  Yetzt  Erstmals  in  Teutschlandt 
an  Tag  gebracht :  Zu  Ehren  vnd  Glucklicher  zeitvertriebung  alien  dugenesa- 
men  Frawen,  vnd  Jungfrawen,  Natherinen,  auch  alien  andern,  so  lust  zu 
solcher  Kunstlicher  Arbeit  haben,  sehr  dienstlicht.  GetrucJct  zu  Basel, 
In  verlegung  Ludwig  Kunigs.  M.D.XCIX.  4°.  Title  page  and  3  cuts  (in- 
complete).  V.  &  A.  M. 

950 —  Kiinig,  Ludwig — Fewrnew  Modelbuch  von  allerhandt  KunstlicherArbeidt, 

namlich  Gestricht,  Aussgezogen  Aussgeschnitten,  Gewiefflet,  Gesticht,  Ge- 
wirckt,  und  Geneyt :  von  Wollen,  Garn,  Faden,  oder  Seyden :  aurT  der  Laden, 
und  Sonderlich  auff  den  Eamen,  Jetzt  Erstmals  in  Teutschlandt  an  Tag 
gebracht :  Zu  Ehren  und  Glucklicher  Zeitvetreibung  alien  dugentsamen 
Frawen,  und  Jungfrawen  Nacherinen,  auch  alien  andern,  so  lust  zu  solcher 
Kunstlicher  Arbeit  haben  sehr  dienstlich.  Gertruckt  zu  Basel.  In  ver- 
legung Ludwig  Kunigs  MDXCIX.  Small  obi.,  33  ff  .,  32  plates.  Frontis- 
piece border  of  point  coupe.    Title  in  Gothic  red  and  black.  Patterns, 


310 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


mostly  borders,  number  of  stitches  given,  "Mit  xxxxvii.,  Bengen,"  etc.  In- 
4°.  Bib.  Nat. 

951 —  Kiinig  (Konig),  Ludwig — Schon  Neues  Modelbuch  von  allerley  liistigen 

Modeln  naazu  nehen  Zuwurcken  vn  Zusticken  gemacht  in  Jar.  Ch.  1599. 
Gemacht  zu  Basel.  In  verlegung  Ludwig  Konigs.  Anno  MDXCIX 
(1599).  In-4°  oblong.  36  feuilles  imprimes  an  recto  seulement  et  conte- 
nant  70  modeles  de  broderies.  Sur  le  titre  grave  sur  bois,  il  y  a  7  femmes 
travaillant. 

952 —  Kunstgewerbe-Museum  zu  Leipzig.    EgenolfT,  Chr.  Modelbuch  aller  Art 

Nehewercks,  etc.,  herausgegeben  unter  Redaction  des  Prof.  M.  zur  Stras- 
sen.    Dresden,  G.  Gilbers,  1880. 

953 —  Kunstgewerbe-Schule  (Konigl.)  zu  Dresden.    Katalog  der  Bibliothek,  IX 

Textilarbeiten.    Dresden,  W.  Hoffman,  1896. 

954 —  Lace — 20  photographs.     (Collection  of  Kursheedt  Manufacturing  Co., 

N.  Y.) 

955 —  Lace — 25  Photographs.   P.  Calavas.   (Collection  of  Kursheedt  Manufactur- 

ing Co.,  N.  Y.) 

956 —  Lace — 35  photographs.    P.  Calavas.  (Collection  of  Kursheedt  Manufactur- 

ing Co.,  N.  Y.) 

957—  Lace— Part  XII.  of  "The  Industrial  Arts."    (South  Kensington  Mus.  Art 

Handbooks.)    8vo.    Lond.,  1876. 

958 —  Lace.    Art  Journal,  V.  17,  p.  86. 

959 —  Lace  (Filet  brode).    The  Connoisseur,  September,  1902,  London. 

960 —  Lace.  Every  Saturday,  V.  5,  p.  729. 

961 —  Lace.  Knickerbocker,  V.  64,  p.  127. 

962 —  Lace.  Leisure  Hour.  V.  19,  p.  388. 

963—  Lace.  Once  a  Week,  May  9,  1868,  London.   V.  18,  p.  413. 

964 —  Lace  Ancient  and  Modern.   Victoria,  V.  23,  p.  145. 

965 —  Lace  and  Bric-a-brac.   Blackwood's  Edinburgh  Magazine,  January,  1876, 

Edinburgh,  V.  119,  p.  59. 

966 —  Lace  and  Embroidery.    Saturday  Review,  V.  66,  p.  305. 

967 —  Laces  and  Embroideries.    Godey,  V.  57,  p.  155. 

968 —  Lace  and  Embroidery  Association — Appoints  committee  to  keep  in  touch 

with  work  of  Secretary  McAdoo's  Commission  scheduling  St.  Gall  em- 
broideries.   N.  Y.  Times,  May  12,  14 :4. 

969 —  Lace  and  Embroidery  Association  tells  of  concessions  made  by  govern- 

ment in  Nottingham  cases,  N.  Y.  Times,  May  16,  18:4. 

970 —  Lace  and  Embroidery  Eeview,  The — New  York,  Clifford  &  Lawton. 

971 —  Lace  and  its  Varieties.    Chamber's  Journal,  July  1,  1891.     London  and 

Edinburgh.  V.  68,  p.  362. 

972 —  Lace  and  Lacemaking — From  Chamber's  "Repository  of  Instructive  and 

amusing  Tracts."   8vo.  (1847)  S.  K.  M. 

973 —  Lace  Cap  and  Slipper  Piece  for  the  Baby.   Ladies'  Home  Journal,  V.  20, 

p.  42,  October,  1903. 


BIBLIOGRAPHY 


311 


974 —  Lace  Collection  of  Mr.  Arthur  Blackborne,  The — Burlington  Magazine,  V. 

5,  pp.  557-569;  V.  6,  pp.  18-20,  123-135,  384-390. 

975 —  Lace  Dress,  A — (Robe  Empire  en  Point  de  Lille).   The  Connoisseur,  Oc- 

tober, 1902,  London. 

976 —  Lace  Fanciers'  Directory. 

977 —  Lace — French  manufacturers  increase  prices,  N.  Y.  Times,  Nov.  21,  III,  8:3. 

978 —  Lace  Industry  of  Calais,  The — Journal  of  the  Society  of  Arts,  Oct.  8, 1897, 

London,  V.  45,  p.  1135. 

979 —  Lace  in  the  Tenements — Charities,  V.  14,  p.  1036. 

980 —  Lace  Makers — Served  out;  or  The  two  Lace  Makers.    By  the  author  of 

"  Harvest  Time  at  Agsdon."    32  pages.    1879.   In  British  Museum. 

981 —  Lace-making  as  a  Fine  Art.    The  Edinburgh  Review,  January,  1872,  Edin- 

burgh. 

982 —  Lace-Making  at  Nottingham.   Eclectic  Magazine,  V.  99,  p.  755. 

983 —  Lace  Making  by  North  American  Indians.    American  Artist,  Vol.  3,  No. 

19. 

984 —  Lace-Making  in  Ireland.    Saturday  Review,  V.  66,  p.  23. 

985 —  Lace  Making,  Past  and  Present.    The  Artist,  1902,  London. 

986 —  Lace  Manufacturies  at  Nottingham.  Penny  Magazine,  V.  12,  p.  113. 

987 —  Lace  Merchant  of  Namur,  a  Tale.    Blackivoods,  V.  44,  p.  245. 

988 —  Lace  of  Assam — Journal  of  the  Society  of  Arts,  V.  49,  p.  192. 

989 —  Laces — Fashion  developments,  pictures  of  samples  from  H.  B.  Claflin's, 

N.  Y.  Times,  July  5,  VIII,  8 :3 ;  raise  in  price  due  to  war,  Aug.  6, 13 :3 ;  new 
high  record  in  prices,  Aug.  26,  11:3;  big  demand  will  keep  domestic 
plants  busy,  Sept.  26,  12:3;  buyers  displeased  at  false  war  scare,  Sept. 
26,13:8. 

990—  Lace,  Sale  of  Heirlooms  at  Woman's  Exchange.  N.  Y.  Times,  Feb.  7,  5:3. 

991 —  Lace — The  Case  of  the  Lacemakers  in  relations  to  importation  of  Foreign 

Bone  Lace.    (Parliamentary  Paper).  8vo.  Lond.,  1898.   S.  K.  M. 

992 —  Lace — The  Queen  Lace  Book:  a  historical  and  descriptive  account  of  all 

the  hand-made  antique  Laces  of  all  countries.  Illus.  4to.  Lond.,  1874. 
S.  K.  M. 

993—  Lace  Trade  and  Factory  Act.    New  Quarterly,  V.  9,  p.  112. 

994 —  Lace  Trade  and  Factory  Act.    Eeprinted  from  the  New  Quarterly  Review, 

revised  and  enlarged,  3d  edition.    London,  1860.   B.  M. 

995—  Lace  Trade— Conditions.   N.  Y.  Times,  Oct.  10,  15:4;  French  laces  will  be 

scarce,  due  to  war,  N.  Y.  Times,  Nov.  25,  15 :4. 

996 —  Lace  Trade — General  Purposes  Committee,   Education   Committee,  and 

School  of  Art  Committee  of  Nottingham  Corporation  confer  on  need  of 
technical  training  in  lace  trade  on  request  from  Federation  of  Lace  and 
Embroidery  Employers'  Associations,  N.  Y.  Times,  August  12,  II,  5  :3. 

997—  Lace  Trade— Import  statistics,  N.  Y.  Times,  Oct.  16,  5  :3. 

998—  Lace  Trade— Some  manufacturers  sell  goods  by  mail,  N.  Y.  Times,  May  14, 

I,  11 :2 ;  buyers  report  heavy  increases  in  prices,  May  26,  17 :6 ;  D.  T.  Bid- 
well  says  Italians  give  America  credit  for  saving  industry  in  Venice  from 
annihilation  by  war,  June  21,  9 :2. 


312 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


999 —  Lace  Vestment,  Eepresenting  Scenes  from  the  Old  Testament.  Connoisseur, 

Vol.  4,  p.  64,  1903. 

1000 —  Ladies'  Guide  to  Elegant  Lace  Patterns.   Gloucester,  Mass.,  1883. 

1001—  Lady's  Album  of  Fancy  Work.    London,  1850.  4to. 

1002—  Lady's  Lace  Book,  The— London,  Ward,  Lock  and  Co.,  1882. 

1003 —  Laimoxen,  B. — See  Sibmacher,  J. 

1004 —  Laimoxen,  B. — Schonn  neues  Modelbuch  von  allerley  liistigen  Modem  nac- 
zunehen  zu  wiirken  un  zu  sticke ;  gemacht  im  Jar  Ch.  1597,  zu  Niirmberg, 
bey  Balthaser  Laimoxen  zu  erfragen.  Obi.  fol.,  27  if.  5  sheets,  title-page, 
and  poem,  signed  J.  S.  (Johann  Sibmacher).  Mr.  Gruner  has  communi- 
cated to  us  a  work  with  the  same  title,  dated  1591.  Berlin,  Eoyal  Lib- 
rary. 

1005 —  Laimoscen,  Balthasar — Schon  newes  Modelbuch  von  allerley  lustingen 
Modeln  noezunehen  zu  wiircken  vn  zu  sticke.  Gemacht  in  Jar  Chr.  1597. 
Zu  Nurmberg  bei  Balthasar  Laimoscen  zuer  fragen.  In-4°  oblong.  Edi- 
tion originale  de  ce  beau  livre  de  modeles  de  broderies  est  de  la  plus 
grande  rarete.  L'exemplaire  est  complet  et  consiste  en  un  titre.  4  feuil- 
lets  de  texte,  et  35  planches  gravees  contenant  chacune  2  modeles  de  brod- 
eries. Mme.  Bury-Palliser  dans  sa  bibliographie  n'indique  que  27  feuillets. 
Suivant  elle,  il  y  aurait  au  Musee  des  arts  et  de  l'industrie  de  Dresde,  un 
ouvrage  allemand  portant  le  meme  titre  avec  la  date  de  1591.  Bibliotheque 
Imperiale  de  Berlin. 

1006 —  Lalande,  Pierre — Le  Point  d'Alengon.  Le  Monde  Moderne,  May,  1901, 
Paris. 

1007 —  Lalor,  Mrs.  Power — The  Irish  Papal  Jubilee  Lace.  The  Magazine  of  Art, 
April,  1888,  London,  V.  11,  p.  200. 

1008 —  Lambert,  Miss — Church  needlework.    8vo.    Lond.,  1844. 

1009 —  Langon,  Mile.,  Inspectrice  du  Travail  a  Tunis,  Service  Economique  In- 
digene, Galerie  d 'Orleans — Dentelle  Tunisienne. 

1010 —  Land  der  Spitzen  (Burano),  Das — Daheim,  Jan.  12,  1889,  Leipzig. 

1011 —  Lantsheere,  Carlier  de — Dentellesa  la  Main — veritables — Points  de  France 
et  Venise.  Plauen,  C.  Stoll. 

1012 —  Lantsheere,  Carlier  de — Dentelles  a  la  Main — Galliera,  Paris.  Plauen,  C. 
Stoll. 

1013 —  Lantsheere,  Carlier  de — Dentelles  a  la  Main,  Cluny,  Paris.  Plauen,  C. 
Stoll. 

1014 —  Lantsheere,  Carlier  de — Dentelles  a  la  Main  anciennes,  du  Musee  des  Arts 
Decoratifs,  Paris.    Plauen,  C.  Stoll. 

1015 —  Lantsheere,  Carlier  de — Les  Dentelles  a  la  Main.  Paris,  A.  Calavas,  1906. 
B.  M. 

1016 —  Lantsheere,  A.  Carlier  de — Dentelles  a  la  Main  du  Musee  Historique  des 
Tissus  de  Lyon,  26  Tafeln.    Plauen,  C.  Stoll. 

1017 —  Lantsheere,  Carlier  de — Les  dentelles  a  la  main;  dentelles  aux  fuseaux; 
dentelles  a  l'aiguille;  dentelles  a,  points  melanges.  135  planches.  Publie 
sous  le  patronage  du  Gouvernement  Beige.   Brussels,  1907,  folio. 

1018 —  Lapauze,  Henri — L'Art  de  la  Dentelle  francaise.  Femina,  April  15,  1904. 


BIBLIOGRAPHY 


313 


1019 —  Lapauze,  Henri — Exposition  de  PArt  de  la  Dentelle  franchise  au  Musee 
Galliera.   Eapport  general.   Paris,  Libr.-impr.  Reunies,  1904. 

1020 —  Lapauze,  Henri — Melanges  sur  T  Art  frangais.  L'Art  de  la  Dentelle  fran- 
chise.  Paris,  Hachette  et  Cie.,  1905. 

1021 —  Laprade,  Laurence  de — A  propos  d'une  Nappe  de  Dentelle.  Art  et  Dec- 
oration, 1912,  V.  32,  pp.  47-50. 

1022 —  Laprade,  Laurence  de — La  dentelle  a  la  Main — la  Broderie  ajouree,  la 
Guipure,  an  Musee  Galliera,  Paris,  1904. 

1023 —  Laprade,  Lanrence  de — Dessins  de  Filet  Modern.  Art  et  Decoration, 
1912,  V.  31,  pp.  59-68. 

1024^-Laprade,  Mme.  L.  de — Le  Point  de  Prance  et  les  Centres  dentelliers  an 
17e  et  18e  Siecles.    Paris,  Eoths child,  1905.   B.  M. 

1025 —  Laprade,  Lanrence  de — Le  Point  de  Venise.  Art  et  Decoration,  1912, 
Vol.  31,  pp.  159-164. 

1026 —  La  Salle,  Philippe  de — Mnsee  historiqne  des  tissns  de  Lyon.  Calavas, 
Paris,  1906.  35  pages.  (Collection  of  Kursheedt  Manufacturing  Co., 
N.  Y.) 

1027 —  Latomus,  S. — Schon  newes  Modelbuch  von  500  schonen  aussor  wahlten, 
Kunstlichen,  so  wol  Italiahnischen,  Frantzosischen,  Niederlandischen, 
Engellandischen,  als  Teutschen  Modem,  Allen,  Naher  .  .  .  hstichern, 
&c,  zu  nutz.  At  the  foot  of  last  page  recto  is,  "Franckfurt  am  Mayn,  bey 
Sigismund  Latomus,  1605."  Small  obi.  100  plates  and  coloured  title-page 
with  figures. 

1028 —  Latomus,  S. — Schon  newes  Modelbuch,  Von  hundert  vnd  achtzig  schonen 
kunstreichen  vnd  gerechten  Modeln,  Teutsche  vnd  Welsche,  welche  auff 
mancherley  Art  Konnen  geneet  werden,  als  mit  ZopfTnath,  Creutz  vnnd 
Judenstich,  auch  auff  Laden  zu  wircken :  Dessgleichen  von  ausserlesenen 
Zinnigen  oder  Spitzen.    Frandfurt  a  M.,  1605. 

1029 —  Latomus,  S. — Schon  newes  Modelbuch  Von  500  schonen  ausserwehlten 
Kunstlichen  so  wol  Italianisch  en  Franzosischen,  Niderlandischen,  Engel- 
landischen als  Teutchen  Modeln,  Allen  Naherin  Seydenstrickern,  etc.,  zu 
nutz.  GetrucM  zu  FrancJcfort  am  Meyn  durch  Sigismundum  Latomum, 
Im  Jahr  1606.  8°.  (Sheet  K  missing.)  B.  K.  M.  Bibliotheque  Nation- 
ale.    Nuremberg,  German  Museum. 

1030 —  Latomus,  S. — Schon  newes  Modelbuch,  Von  hundert  vnd  achtzig  schonen 
kunstreichen  vnd  gerechten  Modeln,  Teutsche  vnd  Welsche,  welche  auff 
mancherley  Art  konnen  geneet  werden,  als  mit  ZopfTnath,  Creutz  vnnd 
Judenstich,  auch  auff  Laden  zu  wircken :  Dessgleichen  von  ausserlesenen 
Zinnigen  oder  Spitzen.  Allen  Seydenstickern,  Modelwirckerin,  Naderin, 
vnd  solcher  Arbeitgeflissenen  "Weibsbildern  sehr  dienstlich,  vnd  zu  andern 
Mustern  anleytlich  vnd  verstendig.  Franckfurt  am  Mayn,  in  Verlegung 
Sigismundi  Latomi.  M.DC.VII.  (1607.)  Small  4to  obi.  180  patterns.  On 
the  title-page  are  two  ladies,  one  working  at  a  pillow,  the  other  at  a 
frame;  in  the  back-ground,  other  women  employed  at  various  works. 
Another  copy  dated  1629.   Stockholm  Royal  Library. 

1031 —  Latomus,  Sigismund — Schon  newes  Modelbuch  von  500  schonen  aus  ser 
wechlten  Kiinstlicher  so  wol  Italianischen,  Frantzosichen  Nider  landisch- 


314 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


en,  Engellandischen,  als  Teutschen  modeln  alien  natherin  seydenstickern 
et  zu  nntz.  Getrucht  zn  Francfort  em  Mayn  durch  Sigismundum  Lato- 
mns.  Im  Jahr  1608.  Titre  moitie  rouge,  moitie  noir  inscrit  dans  un  enca- 
drement  orne  de  volntes  et  de  fruits.  Les  mots  Schon  newes  Modelbuch, 
sont  en  haut  de  l'encadrement  au  milieu  dans  un  cartouche.  En  bas  a 
gauche  une  femme  tenant  un  miroir.  Au-dessus  de  sa  tete  une  etoile  lu- 
mineuse  avec  le  mot  visus.  A  droit  une  femme  tenant  un  oiseau  sur  le 
poing,avec  au-dessus  de  sa  tete  une  toile  d'araignee,  et  le  mot  Tactus. 
En  bas  au  milieu,  dans  un  cartouche  ovale,  un  homme  a  gauche  assis  de 
profil  a  droit  et  travaillant  a  un  metier.  A  droite  deux  femmes  assises, 
un  metier  sur  leurs  genoux.  Au  fond  d'autres  ouvrieres.  Au  premier 
plan  un  chat.  En  tout  96  pages  dont  un  titre  et  95  planches  de  broderies, 
imprimees  au  recto  seulement.  II  y  a  une  edition  de  1605,  au  musee  alle- 
mand  de  Nuremberg  et  une  de  1607,  contenant  180  patrons  a  la  Biblio- 
theque  Royale  de  Stockholm.  Bibliographie  de  Mme.  Bury-Palliser.  Bib- 
liotheque  Nationale. 

1032 —  Latomus,  Sigismund — Schon  newes  Modelbuch,  Von  Zwey  hundert  vnd 
Achtzig  .  .  .  Modeln.  Getrucht  zu  Franckfurt  am  Mayn  bey  Sigismundi 
LatomiS.  Erben.    M.D.CXXIX.    (1629.)  4°.  Title  and  58  cuts.  B.K.M. 

1033 —  Lavington,  Clara,  at  Leeds — Dessin  pour  eventail  en  dentelle.  Art  ap- 
plique, Ire  annee,  Paris. 

1034 —  Lawrence,  Ellen — Priscilla  Bobbin  Lace  Book.  The  Priscilla  Publishing 
Co.,  Boston. 

1035 —  Lay,  F.  and  Fischbach,  F. — Siidslavische  ornamente,  gesammelt  und 
herausgegeben  von  F.  L.   4to.   Hanau  am  Main.   n.d.   S.  K.  M. 

1036 —  Le  Breton,  GL — Les  Dentelles  anciennes,  etc.  In  PUnion  centrale  des 
Arts  decoratifs:  Les  Arts  du  Bois,  etc.  pp.  199-219.  (Illus.)  4to.  Paris, 
1883.   S.  K.  M. 

1037 —  Le  Breton,  Gaston — La  Tissuterie  ancienne.  Les  Dentelles  et  les  toiles 
peintes  et  imprimees  a  1 'Exposition  de  PUnion  centrale.  Gazette  des  Beaux- 
Arts,  1883,  Paris. 

1038 —  Lefebure,  Auguste — L'Art  dans  le  dessin  et  la  fabrication  de  la  Dentelle. 
(Album  de  la  Dentelle.  Exposition  Internationale  de  Liege,  1905. 
Numero  special  de  La  Dentelle,  1905.) 

1039 —  Lefebure,  A. — Dentelles  et  guipures  anciennes  et  modernes.  Paris,  1904. 
B.  M. 

1040 —  Lefebure,  Ernest — Broderie  et  Dentelle.   Paris,  Picard  et  Kaan. 

1041 —  Lefebure,  Ernest — Broderies  et  Dentelles.  Paris,  1887,  1  vol.,  8vo,  paper 
covers.    B.  M. 

1042 —  Lefebure,  Ernest — Dentelles  a  P Exposition  Universelle  Internationale  de 
1900  a  Paris.    Paris,  1900. 

1043 —  Lefebure,  Ernest — L'echarpe  en  blonde  polychrome  ofTerte  a  Pimperatrice 
de  Russie.    Revue  des  Arts  decoratifs,  1900,  Paris. 

1044 —  Lefebure,  Ernest — Embroidery  and  Lace ;  their  Manufacture  and  History 
from  the  remotest  antiquity  to  the  present  day.  Translated  by  Alan  S. 
Cole.   London,  H.  Grevel  &  Co.,  1888.   B.  M. 


BIBLIOGRAPHY 


315 


1045 —  Lefebure,  Ernest — Exposition  de  1889,  a  Paris.  Eapports  dn  Jury  In- 
ternational. Classe  34.  Eapport  de  M.  Ernest  Lefebure.  Paris,  Impr. 
nationale,  1891. 

1046 —  Lefebure,  Ernest — Les  Points  de  France.  Translated  by  Margaret  T. 
Johnston.   New  York,  1912. 

1047 —  Lefebure  Laboulaye  (C.  P.) — Dictionaire  des  Arts  et  Manufactures,  etc. 
(Broderie  et  Dentelle,  Vol.  I.)  Plates,  3  vols.  8vo.  Paris,  1852-61. 
S.  K.  M. 

1048 —  Leftwich,  Arabel — Point  Lace.  The  Lady's  Realm,  January,  1897,  Lon- 
don. 

1049—  Leland,  C.  G.— Art  Work  Leaflets.  No.  4.  Art  Work  on  Linen.  4to. 
N.  Y.  1881-82.    S.  K.  M. 

1050 —  Lemaire,  Gustave — Exposition  de  Liege  en  1905.  Comite  Special  de  la 
Dentelle.  Discours  prononce  a  la  seance  d 'installation,  le  18  mai,  1904. 
Brussels. 

1051 —  Lemaire,  Henri — La  Dentelle.  Paris,  1902.  About  1500  designs  in  all. 
1052^ — Lemaire,  Henri — Dentelles  inedites.     Dessins  nouveaux.     (Paris,  Eou- 

veyre.) 

1053 —  Lemaire,  Henri  (dessinateur) — Documents  et  Modeles  utilisables  dans 
toutes  les  industries  d'Art.  L 'Industrie  dentelliere.  Eecueil  de  1600 
documents.  Publies  en  130  Planches.  Eeproductions  de  dentelle  veritable 
depuis  le  XVe  siecle  jusqu'a  1904,  et  Esquisses  originates  pour  dentelle 
mecanique.   Paris,  Ed.  Eouveyre,  n.  d. 

1054 —  Lemaire,  Henri — La  fleur  appliquee  a  l'industrie  des  Tulles  etc.  (Paris, 
Eouveyre.) 

1056 —  Lemaire,  Henri — Motifs  varies  pour  Eideaux,  Broderies,  Dentelles,  etc. 
(Paris,  Eouveyre.) 

1057 —  Leneveux,  Mme.  Louise — Histoire  de  la  Dentelle.  Journal  des  Demoi- 
selles, 1846,  Brussels. 

1058 —  Le  Eoy  de  Sainte-Croix,  Dr. — Parement  d'Autel  ancien  en  Dentelle  ;et 
Broderie  appartenant  a  Mrs.  Hailstone,  etc.    Paris,  Em.    Leroux,  1874. 

1059 —  Lescure,  A. — Collection  A.  Lescure — Gestickte  Koragenmitte  des  19.  Jahr- 
hunderts.   Plauen,  C.  F.  Schulz  &  Co.,  1910. 

1060 —  Leslie,  Marion — A  Spinning  and  Weaving  School.  The  Lady's  Realm, 
September,  1899,  London. 

1061 —  Lessing  (J.) — Muster  altdeutscher  Leinenstickerei.  4  parts.  (44  plates 
of  designs  for  needlework,  including  alphabets.)  4to.  Berlin,  1878-82. 
S.  K.  M. 

1062 —  Lessing,  Julius — Muster  altdeutscher  Leinenstickerei.  Erste  und  zweite 
Sammlung,  Berlin,  Fr.  Lipperheide,  1897. 

1063—  Lesson  in  Darning  Filet  Net,   Craftsman,  V.  23,  pp.  356-359,  Dec,  1912. 

1064 —  Levetus,  A.  S. — Austrian  Peasant  Lace.  International  Studio,  V.  27,  pp. 
209-218. 

1065 —  Levetus,  A.  S. — The  Eevival  of  Lace  Making  in  Hungary.  International 
Studio,  1910,  V.  42,  pp.  30-35. 

1066—  Levetus,  A.  S. — Some  Modern  Austrian  Pillow  and  Point  Lace.  Interna- 
tional Studio,  V.  18,  pp.  163-173. 


316 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1067 —  Levetus,  A.  S. — Some  Modern  Austrian  Pillow  and  Point  Lace.  The 
Studio,  1905,  London. 

1068 —  Levetus,  A.  S. — The  State  Schools  for  Lace-Making  in  Austria.  The 
Studio,  1905,  London. 

1069 —  Levetus,  A.  S. — State  Schools  of  Lace-Making  in  Austria.  International 
Studio,  1905,  V.  27,  pp.  19-30. 

1070 —  Librairie  des  Arts  Decoratifs — Choix  de  Dentelles  (Part  of  the  Lyon's 
Collection:  points  d'Alengon,  de  Valenciennes,  de  Marines,  de  Bruxelles, 
etc.)    26  plates,  Paris. 

1071 —  Lichtwark,  Alfred — Heinrich  Steyner's  Modelbuch.  Kunstgewerbeblatt 
1887,  Leipzig. 

1072 —  Liedts — Anciennes  dentelles  beiges  formant  la  collection  de  Feu  Madame 
Augusta  Baronne  Liedts  et  donnee  au  Musee  de  Gruuthuus  a  Bruges. 
Publie  en  1889.  Un  volume  in  folio  de  185  superbes  planches  en  photo- 
typie,  le  portrait  de  la  donatrice  et  les  tables.  Ouvrage  capital  sur  les  an- 
ciennes dentelles  beiges  qui  ne  fut  pas  mis  dans  le  commerce  et  qui  ne  fut 
tire  qu'  a  75  exemplaires. 

1073 —  Liedts,  Baron — Catalogue  du  Musee  Gruuthuuse  a  Bruges.  Bruges,  1880. 

1074 —  Liege,  Exposition  de — Les  Dentelles  de  Belgique.    Paris,  1905.    B.  M. 

1075—  Lindsey,  B.— Irish  Lace.    33  pp.  Dublin,  1886.   8vo.   B.  M. 

1076 —  Lipperheide,  Frieda — Hausliche  Kunst.  Berlin,  Fr.  Lipperheide,  1891- 
93. 

1077 —  Lipperheide,  Frieda — Muster  altitalienisoher  Leinenstickerei.  Erste  und 
zweite  Sammlung.    Berlin,  Fr.  Lipperheide,  1883-1892. 

1078 —  Lipperheide,  F. — Old  Italian  Patterns  for  Linen  Cross-stitch  Work.  30 
plates.  Ber.  Lipperheide,  1882.  (Collection  of  Kursheedt  Manufacturing 
Co.,  N.  Y.) 

1079 —  Lipperheide,  Frieda — Das  Spitzenkloppeln.  Berlin,  Fr.  Lipperheide, 
1898. 

1080 —  'List  of  Books  on  Lace  and  Needlework  in  the  National  Art  Library,  A — 
(South  Kensington  Museum).  London,  Geo.  E.  Eyre  &  W.  Spottiswoode, 
1879. 

1081 —  List  of  Books  and  Pamphlets  in  the  National  Art  Library,  South  Kensing- 
ton Museum,  A — Part  II.  Lace  and  Needlework.  London,  Eyre  &  Spot- 
tiswoode, n.d. 

1082 —  Liste  des  Linges  et  des  Ornaments  precieux  d'eglise,  dont  on  peut  faire 
Pacquisition,  etc.  (vente  en  Belgique  a  la  suite  de  la  suppression  des 
couvents,  1775.)    n.p.  n.d. 

1083—  Little  Lace  Girl,  The— By  the  author  of  "The  Conceited  Pig."  London, 
1848.    In  British  Museum. 

1084 —  Livre  de  figures  ponctuees  contenant  plusieurs  dessins  pour  apprendre  a 
marquer  le  linge,  a  faire  de  la  broderie  et  de  la  tapisserie.  In-4°  de  40  ff . 
Les  rectos  sont  des  planches  gravees.  Manuel  du  Libraire  de  Brunet. 
Vente  Lavalliere.    Vente  Mac-Carthy. 

1085 —  Lockwood,  M.  S. — Lace  Dreams  in  Woven  Thread.  Cosmopolitan,  V.  20, 
p.  177. 


BIBLIOGRAPHY 


317 


1086 —  Lockwood,  M.  S.  and  Glaiser,  E. — Art  Embroidery;  a  treatise  on  the 
revived  practice  of  Decorative  Needlework,  19  col.  plates.  4to.  Lond., 
1878. 

1087 —  Lodian,  L. — Virgin  Lace  (lace-bark)  of  the  Tropics.  Scientific  American, 
V.  92,  p.  304,  April  29,  1905. 

1088 —  Loeben,  Max  Georg  von — Der  Absatz  der  Plauener  Spitzen  nach  den  Ver- 
einigten  Staaten  von  Nord-Amerika.    Dresden,  V.  V.  Bohmert,  1905. 

1089 —  London  Exhibition,  1851;  Eeports  of  the  Juries,  Class  XIX,  Tapestry, 
Lace  and  Embroidery,  etc.  pp.  460-476.  London,  1852. 

1090 —  London  Exhibition  Eeports — French.  Vol.  V.  Dentelles,  Tulles  et  Bro- 
deries,  par  F.  Aubrey.  8  vols.  8vo.  Paris,  1854-60. 

1091—  London  Exhibition,  1862;  Reports  of  the  Juries,  Class  XXIV.  Tapestry, 
Lace  and  Embroidery.   London,  1863. 

1092 —  London  Exhibition — France:  Commission  Superieure.  Rapports.  (Den- 
telles et  Broderies,  p.  73.)   8vo.  Paris,  1872. 

1093 —  London  Exhibition — Reports.  Division  II.,  Part  IX.  Needlework  in 
Schools.   4to.   Lond.,  1871. 

1094 —  London  Exhibition — Reports.  French.  Dentelles,  Broderie,  Passemen- 
tes  et  Tapisserie,  Vol.  V.,  p.  201.  7  vols.    8vo.    Paris,  1862-64. 

1095—  London  Exhibition,  1871— Reports.  Fine  Art  Div'n.  Part  IV.  Lace; 
Embroidery,  etc.    4to.    Lond.,  1871. 

1096 —  Loon,  Ernest  van — De  Kantindustrie  in  Frankrijen  Italie.  'S.  Graven- 
hage,  1907. 

1097 —  Lord,  K. — Honiton  and  the  Revival  of  Lace-making  in  Devon.  Crafts- 
man, V.  17,  pp.  444-451,  January,  1910. 

1098 —  Lord,  Katherine — How  to  make  Irish  Laces  at  Home.  Craftsman,  1910, 
V.  18,  pp.  492-496. 

1099 —  Lord,  Katherine — A  Lesson  in  Making  Filet  Lace.  Craftsman,  1909,  V. 
17,  pp.  208-214.  November. 

1100 —  Lord,  Katherine — Real  Lace.  The  Delineator,  June,  1917,  New  York.  V. 
90,  pp.  32-3. 

1101 —  Loubier,  Jean — Ein  Venezianisches  Modelbuch  von  Jahre,  1559.  Z.  und 
sch.  f.  Bucherfreunde,  V.  1,  pp.  85-91. 

1102 —  Louvre,  Musee  des  Arts  Decoratif  s.  Les  Dentelles  anciennes  du  Musee. 
1906.  fol. 

1103 —  Lovett,  Eva — An  Italian  Lace  School  in  New  York.  New  York,  1906.  In- 
ternational Studio,  V.  29,  pp.  12-19,  July. 

1104 —  Lovett,  Eva — The  Lace  Collection  of  the  Metropolitan  Museum  of  Art. 
International  Studio,  1906.  V.  29,  pp.  71-76,  80-85.  Brush  and  Pencil. 
V.  18,  p.  10. 

1105 —  Lovett,  Eva — Lace  and  Lace-Making  at  Pratt  Institute.  International 
Studio,  New  York,  1907.    V.  32,  pp.  58-61.  August. 

1106 —  Lowe,  G.  A. — Filet  Lace-making  at  Home.  Harper's  Bazaar.  V.  43,  pp. 
280-281,  March,  1909. 

1107 —  Lowe,  G.  A. — Simple  Cut-work  Designs.  Harper's  Bazaar.  V.  43,  pp. 
507-509,  May,  1909. 


318 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


1108 —  Lowes,  Mrs.  Emily  L. — Chats  on  Old  Lace  and  Needlework.  London, 
T.  F.  Unwin,  1908.    B.  M. 

1109 —  Lncretia  Eomana — Corona  delle  nobili  et  virtuose  donne.  Libro  terzo. 
Nel  quale  si  dimostra  in  varii  dissegni  tutte  le  sorti  di  Mostre  di  punti 
tagliati  e  punti  in  aria,  punti  Fiamenghi,  punti  a  Eetcello,  e  d'  ogn'  altra 
sorte,  Cosi  per  Fregi,  per  merli  e  Eosette,  che  con  Aco  si  viano  hoggidi 
per  lutta  l'Europa.  E  rnolte  delle  quail  Mostre  porsono  Serviri  ancora 
per  opera  a  Mozzete.  Con  le  dichiarationi  a  le  Mostre  a'  Lavori  fatti  da 
Lugretia  Eomana.  In  Venetia,  appresso  Allessandro  de  Vecchi,  1620.  27 
fT.,  obi.  8vo.    V.  &  A.  M. 

1110 —  Lucretia  Eomana — Corona  delle  Nobili  et  Virtuose  Donne,  Libro  primo, 
nel  quale  si  dimostra  in  varij  Dissegni  tutte  le  sorti  di  Mostre  di  punti  tag- 
liati, punti  in  Aria,  punti  Fiamenghi,  punti  a  reticello,  e  d'  ogni  altre  sorte, 
cosi  per  Freggi,  per  Merli,  e  Eosette,  che  con  1'  Aco  si  usano  per  tutta 
l'Europa.  E  Molte  delle  quali  Mostre  possono  servire  ancora  per  opere 
a  Mazzete.  Con  le  dichiarazioni  a  le  Mostre,  a  Lavori  fatti  da  Lugretia 
Eomana.  In  Venetia  appresso  Alessandro  de  Vecchi  MDCXXV.  Si  ven- 
dono  in  Venetia  al  Ponte  de'  Baretteri  alia  libreria  delle  tre  Eose.  Lady 
Wilton  in  her  Art  of  Needlework,  quotes  a  copy  dated  1620.  Obi.  4to,  ff. 
27.    Vienna,  Imperial  Library. 

See  "  Corona' '  of  Vecellio  of  1844. 

1111 —  Lucretia  Eomana — Ornamento  no  bile  per  ogni  gentil  matrona.  Dove  si 
contiene  Bavari,  Frisi,  d'infinita  bellezza,  Lavori  per  linzuoli,  Traverse  e 
Facuoli,  Piena  di  Figure,  Ninfe,  satiri,  Grotesche,  Fontane,  musiche,  Cac- 
cie  di  Cervi,  ucelli  et  altri  animali.  Con  ponti  in  aria  fiamenghi  et  tagliati 
con  adornamenti  bellissimi,  da  imparare  per  ogni  virtuosa  Donna  che  se 
diletta  di  perf ettamente  cucire.  Opera  per  Pittori,  scultori  et  Disegnatori 
giovevoli  alle  lor  profession  lavori.  Fatta  da  Lucretia  Eomana,  il  quinto 
volume  di  suei  lavori.  Dedicato  alle  virtuose  donne.  In  Venetia,  ap- 
presso Lessandro  (sic)  de  Vecchi,  MDCXX  (1620).  In-folio.  4°.  Au- 
dessous  des  mots,  virtuose  donne,  une  gravure  sur  bois,  entouree  des  qua- 
tre  cotes  par  des  bandes  rectangulaires  renfermant  des  petits  motifs  de 
broderies.  Dans  rinterieur  de  ces  bandes  une  femme  vetue  a  Tantique, 
debout  sur  une  tortue,  symbole  de  la  bonne  menagere  et  tenant  a  la  main 
une  pelote  de  fil.  A  gauche  deux  femmes  qui  brodent,  a  droite  un  sculp- 
teur  qui  termine  une  statue  de  Minerve.  Eien  au  verso.  Page  suivante 
au-dessus  de  la  broderie  que  contient  cette  page,  on  lit  dans  une  tablette 
rectangulaire :  Ornamento  delle  donne  di,  singolar  bellezza,  che  in  tutta 
Europa,  si  osserva,  di  far  in  varie  foggie.  Con  altri  cinque  libri  fatti  da 
Lucretia  Eomana,  Opera  vtile  a  Pitori,  scultori,  &  disegnatori,  piena  di 
animal,  bellissimi,  vasi,  fontane,  caccie,  musica  &  fiori  di  varie  sorti,  &  di 
diuerse  compartimenti  bellissimi.  Le  volume  se  compose  de  20  feuillets 
chifTres,  les  10  premiers  signes  A.  A10.  Le  premier  feuillet  comprend  le 
titre,  orne  d'une  figure  sur  bois  encadree  de  dentelles  et  les  19  autres  con- 
tiennent  20  beaux  modeles  de  dentelles  gravees  sur  bois  sur  fond  noir  et  im- 
primes  sur  le  recto  de  chaque  feuille  dont  le  verso  est  blanc,  sauf  les  deux 
derniers  qui  occupent  le  recto  et  le  verso  du  20°  feuillet.    20  cuts.  Vente 


BIBLIOGRAPHY 


319 


Benedetto  Maglione,  Paris,  1894.  The  bavari  are  executed  in  three  dif- 
ferent stitches:  pnnto  d'  aieri,  p.  flamingo,  and  p.  tagliato.  This  author 
and  Vecellio  give  Flemish  patterns  (punti  Fiamenghi).  They  consist 
mostly  of  rosettes  and  stars  (gotico).    Brussels,  Bib.  Eoyale. 

1112 —  Lucretia  Eomana — Ornamenti  nobili  per  ogni  gentil  matrona  dove  si  con- 
tiene  vavari.  Venice,  1876,  reprinted  by  Ongania  from  the  edition  of  1620. 
Metro.  Mus. 

 M—  — 

1113—  M.,  F. — See  Metropolitan  Museum. 

1114 —  M.,  E.— see  S.,  E.  M. 

1115 —  Macrame  Lace,  a  knotted  Trimming,  etc.  By  the  Silk  worm  (the  Silk- 
worm Series).    8vo.    Lond.    (1875).    S.  K.  M. 

1116 —  Macrame  lace  book,  The :  containing  full  and  clear  instructions  for  mak- 
ing this  handsome  and  useful  trimming.    London.    (1877).  8°. 

1117 —  Madritum — Eeglamento  para  la  escuela  de  encajes  en  Madrid.  Madrid, 
1784.  8°. 

1118 —  Mahaffy,  Amada — Priscilla  Drawn-Work  Book. 

1119 —  Making  of  Bobbin-lace,  The — Illus.  Decorative  Furniture.  New  York, 
1916.    4°.    V.  30,  No.  1,  p.  47. 

1120 —  Making  of  Lace.    Dublin  University.    V.  54,  p.  678. 

1121 —  Making  of  Lace.    Eclectic  Review.    V.  135,  p.  37. 

1122—  Making  of  Lace.    Galaxy.    V.  6,  p.  118. 

1123—  Making  of  Lace.    Godey.    V.  51,  pp.  330  and  365;  545  and  566;  337. 

1124 —  Making  of  Lace.    Living  Age,  112:541. 

1125 —  Making  of  Lace.    Penny  Magazine.    V.  9,  p.  186. 

1126 —  Making  of  Lace.    Practical  Magazine.    V.  4,  p.  204. 

1127 —  Mali,  Marie — La  Dentelle  americaine.  La  Reforme,  April  4,  1899,  Brus- 
sels. 

1128 —  Mali,  Marie — La  Dentelle  beige.    L'Art  moderne,  Jan.  8,  1899,  Brussels. 

1129—  Mali,  Marie— La  Dentelle  beige.    La  Reforme,  Dec.  22,  1898,  Brussels. 

1130 —  Malines — Photographs  of  lace,  etc.  exhibited  at  1'Institut  des  Beaux  Arts, 
1872.    S.  K.  M. 

1131 —  Manley,  L.— Lace  Work.  Harper's  Bazaar.  V.  42,  pp.  1134-1135,  Nov. 
1908. 

1132 —  Manning,  A.  E. — Tempting  Bits  of  Cross-stitch.  Good  Housekeeping.  V. 
53,  pp.  279-281,  August,  1911. 

1133 —  Manteuffel,  E.  von — Album  altdeutscher  Leinenstickerei.  50  plates.  8vo. 
Harburg,  a.d.  Elbe,  1883.    S.  K.  M. 

1134 —  Manteuffel,  Erna  von — Filet — Guipure — Album.  Harburg  a/Elbe,  Gr.  El- 
kan,  n.d.    60  plates. 

1135 —  Marez,  Gr.  des — Les  Dentelles  de  N.D.  des  Sept.  Douleurs  a  l'Egliee  des 
Eichesclaires  a  Bruxelles.  Brussels. 

1136 —  Marguet,  A.  and  Dauphinot,  A. — Tresor  de  la  Cathedrale  de  Eeims. 
(Eccle.  Lace  and  Embroidery.)    4to  Paris.    1867.    S.  K.  M. 

1137—  Marie  Antoinette  Shawl.  International  Studio.  V.  32,  sup.  61-63,  Aug. 
1907. 


320  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

1138 —  Mariage,  J.  B. — Societe  d 'agriculture,  des  sciences  et  des  arts  de  Parron- 
dissement  de  Valenciennes. 

1139 —  Marriott,  J.  H. — Old  Lace  and  How  to  Collect  it.  Connoisseur.  V.  1, 
pp.  34-38. 

1140 —  Marsland  &  Co. — New  Eegistered  Designs  in  Crochet.  1853. 

1141 —  Martin,  J. — Schon  Newes  Modelbuch  von  allerley  lustigen  Modem  naa- 
zunehen  zuwurcken  vn  zusticke  gemacht  im  Jar.  Oh :  15.99.  Gedruckt  zu 
Strassburg,  bey  Jost  Martin  am  KornmarcM.  In  verlegung  Ludwig  Kb- 
nigs  von  Basel.    Anno  M.DCVL    4°.    40  leaves.    B.  K.  M. 

1142—  Martin,  J.  Schon  Newes  Modelbuch,  etc. — [Another  edition  of  No.  1141.] 
4°.    40  leaves.    Sigs.  A — K4.    1619.    (Rosenthal  Sale  Catalogue.) 

1143 —  Marvin,  Helen — The  Beautiful  Art  of  Sweden.  The  Lace  Maker.  Sara 
Hadley,  Editor.    34  West  22nd  Street,  New  York. 

1144 —  Marvin,  H. — Five  Crocheted  Caps.  Womans  Home  Companion.  V.  41, 
p.  32,  February,  1914. 

1145 —  Marvin,  H. — For  Baby  in  Warm  Weather.  Womans  Home  Companion. 
V.  40,  p.  32,  July,  1913. 

1146 —  Marvin,  H. — New  Heavy- thread  Tatting.  The  Woman's  Home  Com- 
panion.   V.  40,  p.  29,  May,  1913. 

1147 —  Marvin,  H. — Old-fashioned  Knitted  Quilts.  Womans  Home  Companion. 
V.  41,  p.  55,  April,  1914. 

1148 —  Marvin,  H. — Practical  Crocheted  Table-mats.  Womans  Home  Compan- 
ion.   V.  40,  p.  29,  February,  1913. 

1149 —  Mason,  Edith,  at  Taunton — Dentelle,  Bolero,  dentelle  Honiton.  Projet  de 
dentelles  de  Honiton.    Art  applique,  Ire  annee,  Paris. 

1150 —  Mason,  Edith — Honiton  Lace.  Art  Workers'  Quarterly.  V.  2,  No.  8, 
pp.  144-146. 

1151—  Masters,  E.  T. — Drawn  Linen  Work.    117  pages.    London,  1890.    B.  M. 

1152 —  Materiaux  pour  servir  a  Phistoire  de  la  dentelle  en  Belgique.  Bruxelles, 
1908,  etc.    4°.    .  .  planches. 

1153 —  Matitsch,  H. — The  Matitsch  Lace -Making  Machine.  Scientific  American 
Supplement.    V.  59,  pp.  24372-24373. 

1154 —  Maynard,  A. — Christmas  Gifts  in  Crochet,  Ladies  Home  Journal.  V. 
20,  p.  27,  October,  1903. 

1155 —  Mayol,  Jehan — Sensuyuent  lis  patrons  de  messire  Antoine  Belin,  Eeclus 
de  sainct  Martial  de  Lyon.  Item  plusieurs  autres  beaulx  Patrons  nou- 
veaulx,  qui  ont  este  inventez  par  Jehan  Mayol  Carme  de  Lyon.  On  les 
vend  a  Lyon,  chez  le  Prince,  n.d.  Small  8vo,  6  if.,  85  plates,  Copy  at 
the  Arsenal  has  12  ff.  The  same  device  of  the  printer  in  the  frontispiece 
and  at  the  end  of  the  book.  " Finis.' 7  One  of  the  patterns  represents  St. 
Margaret  holding  the  cross  to  a  dragon,  but  in  these  four  books  the  designs 
are  copied  from  each  other,  and  are  many  of  them  repetitions  of  Quinty. 
Bib.  Ste.  Genevieve. — Bib.  de  P Arsenal. 

1156 —  M.,  C.  E. — Hints  on  ornamental  needlework  as  applied  to  eccle.  purposes. 
Plates.  16mo.  Lond,    (1843.)  S.  K.  M. 

1157—  McCutcheon— Mexican  Drawn-work.  1893.  (Collection  of  Kursheedt 
Manufacturing  Co.,  N.  Y.) 


BIBLIOGRAPHY 


321 


1158 —  McGrath,  A.  K. — New  Darned  Work  from  Tuscany.    Ladies  Home  Jour- 
nal   V.  28,  p.  27,  August,  1911. 

1159 —  Mee,  C. — Crochet  explained  and  illustrated.    Pis.  12mo.    Lond.  1846. 
S.  K.  M. 

1160 —  Melani,  A. — Pizzi  moderni  (Eiviera.    Venice.    Bologna).    La  Lettura, 
March,  1904,  Milan. 

1161 —  Melani,  A. — Svagli  artistici  Femminili  dove  si  parla  di  Ricami,  di  Pizzi, 
etc.    Milan,  Ulrico  Hoepli,  1891  and  1892,  pp.  348.    B.  M. 

1162 —  Meredith,   Mrs. — The   Lacemakers.    (Account  of  the  effort  to  establish 
lace-making  in  Ireland.)    8vo.    Lond.    1865.    S.  K.  M. 

1163—  Merli,  A.— Origine  delle  Trine  a  filo  di  Refa.    Genoa,  1864. 

 METROPOLITAN  MUSEUM  OF  ART  (BULLETINS)  LACE  NOTES 

BY  F.  M. 

1164—  Vol.  1. 1905-6.  March,  Page  64,  Met.  Mus.  Lace  Collection. 

1165—  May,  Page  89,  Met.  Mus.  Lace  Collection. 

1166—  June,  Page  99,  Met.  Mus.  Lace  Collection. 

1167—  Dec,  Page  166,  Gift— Hamilton  Cary. 

1168—  Vol.  2.  1907— June,  Page  108,  Gift— Mrs.  A.  S.  Wheeler.  Handkerchief. 

1169—  July,  Page  128,  Gift— Mrs.  Wm.  K.  Vanderbilt,  Royal  chris- 

tening Robe. 

1170—  August,  Page  143,  Mrs.  Duval,  Point  de  Sedan 

1171—  Vol.  3.  1908— August,  Page  156,  Met.  Mus.  Lace  Collection  . 

1172 —  October,  Page  190,  Gift — Mrs.  Edward  Luckemeyer. 
H73_  November,  Page  200,  Nuttall  Collection. 

1174—  Vol.  4.  1909— May,  Page  87,  Blackborne  Collection. 

1175 —  July,  Page  133,  Van  Rensselaer  Collection. 

1176—  Vol.  5.  1910-  June,  Page  151,  Seligman  Collection. 

1177 —  — Page  258,  Harriman  Collection. 

1178—  Vol.  6.  1911— October,  Page  198,  Loans,  Blumenthal,  Greenleaf. 

1179—  Vol.  8.  1913— May,  Page  110,  Bequest— Mrs.  Harriette  Goelet;  Gift— Mrs. 

Russell  Sage. 

1180—  August,  Page  182,  Gift— Mrs.  Edward  S.  Harkness,  Miss 

Tuckerman,  Mrs.  R.  W.  Moore. 

1181—  Vol.  9.  1914— July,  Page  165,  Gift— Mrs.  Wm.  Bliss,  Mrs.  Fletcher,  Mr. 

Thatcher  Adams. 

1182 —  December,  Page  261,  Flemish  Laces. 

1183—  Vol.  11. 1916— March,  Page  73,  Gift— Mrs.  Henry  S.  Redmond. 

1184—  June,  Page  138,  Needle  and  Bobbin  Club. 

1185—  Vol.  12. 1917— January,  Page  3,  Gifts— Mrs.  Wm.  P.  Douglass,  Point  de 

France. 

1186—  February,  Page  40,  Gifts— Mrs.  R.  T.  Auchmuty. 

1187 —  April,Page  96,  French  and  Flemish  Laces. 

1188—  May,  Page  105,  Gift— Mrs.  Joseph  Pulitzer,  Flemish  Lace. 

1189 —  August,  Page  169,  Hearn  Bequest  of  Laces. 

1190 —  December,  Page  246,  Rearrangement  of  Laces. 


322  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS  * 

1191—  Vol.  13.  1918— April,  Page  95,  An  Important  Loan  of  Lace. 
1191a-Vol.  14.    1919— June,  Page  130— A  Summer  Exhibition  of  Tapestry  and 

Lace.  .  iii  >.•!!..!  :i|  I  \'i  ■  |  ly^  j         l|Jij4i  , 

1192 —  Metropolitan  Museum  of  Art — Photographs  of  Lace. 

1193 —  Metropolitan  Museum  of  Art,  The  Textile  Collection  and  its  Use.  Sup- 
plement to  the  Bulletin  of  the  Metropolitan  Museum  of  Art.    May,  1915. 

1194 —  Meuer,    M. — Altarschmuch.     8vo.    Leipzig,  1867. 

1195 —  Meyer,  D. — Zierat  Buch,  von  allerhandt  Kutschnur,  Schley er  deckel,  Kra- 
gen,  Leibgurtel,  Passimenten,  Handschug,  Wehrgeheng  und  Schubenehen, 
Messerscheyden,  Secklen,  Friichten,  Blumen  und  ands,  mehr.  Allen  Per- 
lenbefftern,  Nederin,  Lehrinngen  und  andern  welche  lust  zu  dieser  Kunst 
tragen,  sehr  niitzlich.  Inn  diese  Format  zusammen  ordiniert  und  gsetzt 
durch  Daniel  Meyer  Mahlern.  lster  Theil.  1618.  Franckfuhrt  am  Mayn, 
bey  Eberhardt  Kusern  zu  finden.    11  f¥.,  9  plates.  In-8vo. 

1196 —  Meyer,  F.  J. — Flower  and  Fruit  Basket  in  Cross-stitch.  Ladies  Home 
Journal.    V.  31,  p.  32,  August,  1914. 

1197 —  Mezzara,  Paul,  at  Paris — Dentelles.    Art  Applique,  Ire  annee,  Paris. 

1198 —  Michel,  W. — Neue  Schlesische  Spitzen.  Decorative  Kunst,  Jahrg.  15,  pp. 
377-380.    Munich,  1912. 

1199 —  Mickel,  A. — Simple  Problems  in  Applied  Design  for  Art  Needlework. 
Manual  Training.    V.  16,  pp.  164-168,  November,  1914. 

1200 —  Migem,  Em.  van — Exposition  Universelle  d'Anvers,  1894.  Classe  36. 
Dentelles,  etc.    Eapport.    Brussels,  A.  Lesigne,  1896. 

1201 —  Migeon,  Gaston — Les  Arts  du  Tissu.    Paris,  Eenouard,  1909. 

1202 —  Mignerac,  Mathias — Lace  Patterns.    Paris,  1605. 

1203 —  Mignerak,  Matthias — La  pratique  de  l'aigville  indvstrievse  du  tres  ex- 
cellent Milour  Matthias  Mignerak.  Anglois,  ouvrier  fort  expert  en  toute 
sorte  de  lingerie.  Ou  sont  tracez  diuers  compartimens  de  carrez  tous  dif- 
ferans  en  grandeur  et  invention,  auec  les  plus  exquises  bordures,  desseins 
d'ordonances  qui  se  soient  veuz  iusques  a  ce  iourd'hui  tant  poetiques,  his- 
toriques,  qu'autres  ouurages  de  poinct  de  rebord.  Ensemble  les  nouuelles 
inuencions  franchises  pour  ce  qui  est  de  divotion  et  contemplation.  A  la 
tres  Chrestienne  Eoine  de  France  et  de  Navarre.  Auec  priuilege  du  Eoy, 
1605.  A  Paris  Per  Jean  Le  Clerc  rue  St.  Jean  de  Latran  a  la 
Salamandre  Eoialle.  Sur  le  titre  un  Frontispice.  Deux  femmes  Diane  et 
Pallas  tenant  des  metiers  dans  leurs  mains.  En  haut  les  armes  de  France 
et  de  Navarre,  soutenues  par  de  petit s  amours.  En  bas  des  amours  qui 
filent  et  qui  devident.  Entre  les  branches  d'une  paire  de  ciseaux,  il  y  a 
un  coussin  a  dentelle  avec  un  carre  de  lacis  en  voie  d 'execution  et  dont  le 
modele  est  une  marguerite.  On  lit  en  haut:  Petrus  Firens  fecit.  I.  Le 
Clerc  excudit.  Dedicace  a  la  Eeine  Marie  de  Medicis.  Discours  en  vers 
sur  le  lacis.  En  somme  4  ff.  preliminaires  et  72  planches  de  broderies, 
dentelles  .  .  .  The  patterns  consist  of  the  Queen's  arms  and  cypher,  4  Scrip- 
ture subjects :  Adam  and  Eve,  the  annunciation,  Ecce  Homo,  and  Magdal- 
en; 4  Elements,  4  Seasons;  Roman  Charity,  Lucretia,  Venus,  and  "Pluye 
d'or ;"  6  Arbes  a  fruit,  6  pots  a  rleurs,  30  Carres  grands,  moyens  et  petits ; 
6  Bordures,  and,  what  is  quite  a  novelty,  6  "Passements  faits  au  fuseau" 


BIBLIOGRAPHY 


323 


the  first  mention  of  pillow  lace  in  any  of  the  French  pattern-books.  Vente 
Libri,  Vente  Yemenitz,  1859,  Vente  Pichon,  1869.  Bib.  Baron  J.  Pichon, 
Cat.  d'Estrees,  Bib.  Nat. 

1204 —  Miles,  Boger — La  Dentelle.  Transformation  progressive  des  15me  et  16me 
siecles.  500  reproductions  documentaires  (Allemagne,  France,  Italie, 
Aubes,  Berthes,  bordures,  carres,  Collerettes,  Feuillages,  Fraises,  Gor- 
gerines.  Manchettes,  Mouchoirs,  Pertuis,  etc.  Un  volume  in-4°  illustre 
de  80  planches. 

1205—  Milroy,  M.  E.  W. — Home  Lace  Making.  London,  Scott,  Greenwood  &  Co., 
1906.    B.  M. 

1206 —  MincofT,  Elisabeth,  and  Marriage,  M.  S. — Pillow  Lace — a  practical  Hand- 
book.   London,  J.  Murray,  1907.    B.  M. 

1207 —  Minerva — Zierlich-webende  Minerva  oder  neu-erfundenes  Kunst,  und  Bild- 
Buch  der  Weber,  und  Zeichner- Arbeit,  etc.   (Johann  Christ.  Weigel).  n.d. 

1208 —  Ministere  de  l'lndustrie  et  du  Travail — Becensement  general  des  indus- 
tries et  metiers.    Brussels,  1896. 

1209 —  Minkus,  Fritz — Oesterreichische  Spitzen.  Vienna,  F.  Wolfrum  &  Co. 
1907. 

1210 —  Minne,  Jenny — Les  Dentelles  de  Belgique  a  1 'Exposition  de  Liege  (Album 
de  la  Dentelle.  Liege,  1905).  Numero  special  de  La  Dentelle,  1905, 
Paris. 

1211 —  Minne,  Jenny — Le  Palais  de  la  Femme.  (Album  de  la  Dentelle.  Liege. 
1905).    Numero  special  de  La  Dentelle,  Paris,  1905. 

1212 —  Minne-Dansaert,  Mile.  Jenny — Bapport  sur  les  dentelles  et  les  broderies, 
addresse  a  la  Commission  de  1 'Exposition  de  Chicago.    Brussels,  1894. 

1213 —  Mitford,  E.  B. — Lace  and  Lace  Workers  of  Flanders,  etc.  Sunday  Maga- 
zine.   V.  34,  p.  927. 

1214 —  Model-Buchli. — 1529  Ein  new  getruckt  model  Buchli  auff  auss  nehen  vnnd 
bortten  wircken  ynn  der  laden  vnnd  langenn  gestell.  Ganntz  gerecht  nach 
abteilung  der  feden  tzal.  (Rosenthal  Sale  Catalogue.)  Said  by  Bosen- 
thal  to  be  the  only  known  copy,  and  hitherto  undescribed.  He  reproduces 
the  title.  Designs  copied  later  by  Claude  Nourry  (Lyons,  c.  1530)  and 
Basset  (Frankfurt,  1569).  See  Jorg  Gastel,  of  which  this  is  a  later  edi- 
tion with  a  new  titlepage. 

1215—  Model-Buchli— Vol.  1,  Title  32  pages  and  fly :  32  woodcuts,  obi.  4to.  No.  41 
in  E.  F.  Strange  bib. ;  No.  293  in  Fairfax  Murray  sale.    Metro.  Mus. 

1216—  Model-Buchli— Vol.  2,  Ein  New  Furm  Buchlein.  n.  d.  Title  and  32  pages,  45 
cuts,  4to.  No.  25  in  E.  F.  Strange  bib. ;  in  Bosenthal  sale  cat. :  No.  292  in 
Fairfax  Murray  sale.    Metro.  Mus. 

1217—  Modelbuch;  Zweiter.  Theil:  Franckfurt  am  Mayn,  1569.  4to,  ff.  44.  Nos. 
36  and  37  are  cited  by  the  Marquis  d'Adda. 

1218 —  Model-Buch,  Neu — Neu  Model-Buch,  darinnen  allerley  gettung  schoner 
Modeln  der  neuen,  etc.  Probably  a  reprint.  27  plates.  Lindau  am 
Bodensee,  n.d. 

1219 —  Modelbuch  welscher  ober  vnd  niderlaen  discher  arbait.  Gedruckt  zu 
Francfort.    Petit  in-4°.    Sans  date  (vers  1550).    Titre  et  39  planches, 


324 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


La  signature  D  est  double,  mais  les  modeles  ne  sont  pas  les  memes.  Cata- 
logue Tross,  1867. 

1220 —  ModelbtLck  Welscher,  Ober  und  Niderlandischer  Arbait.  Getruckt  zii 
Franckfort.  No  date,  but  probably  at  least  as  early  as  1530.  4to.  20 
leaves. 

1221 —  Modenwelt,  Die — Muster  altdeutscher  Leinenstickerei.  Dritte  Sammlung, 
herausgegeben  von  der  Redaction  der  Modenwelt:  und  Vierte  Sammlung 
herausgegeben  von  der  Redaction  der  Modenwelt.  Berlin,  Fr.  Lipper- 
heide,  1893. 

1222 —  Moderne  Compositionen  fiir  Spitzen.    Plauen,  dir.  Stoll,  n.d. 

1223 —  Modernes  Kunstgewerbe.  Spitzen.  Illustrirte  Zeitung,  June  6,  1901, 
Leipzig. 

1224 —  Modernes  Kunstgewerbe.  Neue  Spitzen.  Illustrirte  Zeitung ,  May  29, 
1902,  Leipzig. 

1225 —  Modern  Lace  Making,  1901.  (Collection  of  Kursheedt  Manufacturing  Co., 
N.  Y.) 

1226—  Modern  Lace-making.  Delineator.  V.  63,  pp.  122-123:  300-301:  1058- 
1059.    V.  64,  pp.  260-261,  January,  February,  July,  August,  1904. 

1227 —  Modern  Lace-making.    Delineator.    V.  65,  p.  115,  January,  1905. 

1228—  Molded  Lace.    Independent.    V.  71,  pp.  217-218,  July  27,  1911. 

1229 —  Moleon,  V.  de — Notice  sur  la  Dentelle.  Dictionnaire  de  la  Conversation, 
au  mot  ''Dentelle." 

1230 —  Monsarrat,  J.  Gr. — Oriental  Darned  Work.  Ladies  Home  Journal.  V.  23, 
p.  66,  March,  1906. 

1231 —  Monte,  II — II  Monte,  opera  nova  di  recami,  intitolata  il  monte.  Nella 
quale  si  ritroua  varie  et  diversi  sorti  di  mostre  di  punti,  in  aere  a  f ogliami. 
Dove  le  belle  et  virtuose  donne  potrano  fare  ogni  sorte  di  lauori  accomo- 
date alia  uera  forma,  misura,  et  grandezza  che  debbono  essere  ne  mai  piu 
par  la  dietro  da  alcuno  vedute.  Opera  non  men  bella  che  vtile  et  neces- 
saria.  Petit  in-4°.  Au-dessous  de  ce  titre,  une  grande  marque  d'im- 
primeur  representant  un  oiseau  de  proie,  les  serres  sur  une  biche.  Tout 
autour  des  oiseaux  voltigeants.  Cette  composition  est  renfermee  dans  un 
cartouche,  forme  de  cuirs  enroules  et  de  mascarons  et  entouree  d'une  ban- 
derole sur  laquelle  on  lit:  Virtuta  parta,  non  sibi  tantum.  Au-dessus:  In 
Venetia.  En  Resume :  un  titre  et  15  feuillets  dont  29  de  planches  de  bro- 
deries.    Bibliotheque  de  P Arsenal. 

1232 —  Monte,  II — II  monte,  opera  nova  di  recami  dove  trovansi  varie  mostre  di 
punto  in  aero.  Venezio  1557.  16  feuillets  et  30  planches.  Cicognara. 
Bibliotheque  du  Vatican. 

1233 —  Monte — II  Monte.  Opera  Nova  Dl  Recami,  Intitvlata  II  Monte  Nellaquale 
Si  ritroua,  varie  &  diuerse  sorti  di  mostre,  di  punto  in  aiere,  a  fogliami, 
Doue  le  belle,  &  uirtuose  donne  potramo  fare  ogni  sorte  di  Lauoro,  accom- 
modate alia  uera  forma  misura,  &  grandezza,  che  debbono  essere,  ne  mai 
piu  per  Padietro  da  alcuno  uedute.  Opera  non  men  bella  che  vtile  e  neces- 
saria.  Nihil  difficile  uolenti.  In  Venetia,  L'Anno  MDLVII.  4°.  Title 
and  39  cuts.    B.  K.  M. 


BIBLIOGRAPHY  325 

1234—  Monte— II  Monte,  etc.— [Another  edition  of  No.  1233.]  Opera  Noua  Di 
Eecami  intitolata  .  .  .  Done  le  belle,  &  nirtnose  Donne  potramo  fare  ogni 
sorti  di  lanoro  .  .  .  (etc.).    In  Venetia.    n.d.    B.  K.  M. 

1235—  Moody,  A.  Penderel — Devon  Pillow  Lace.  London,  Cassell  &  Co.,  1908. 
B.  M. 

1236—  Moody,  A.  Penderel— Lace  Making  and  Collecting.  Ill  pp.  Cassell,  1909. 
B.  M. 

1237—  Moore,  N.  H. — Early  Laces.    St.  Nicholas.    V.  31,  pp.  290-295,  Feb,  1904. 

1238—  Moore,  N.  H.— Lace  Book.    Dial.    V.  37,  p.  427,  Dec.  16,  1904. 

1239—  Moore,  M.  Hndson— The  Lace  Book.  London,  Chapman  &  Hall,  1905. 
B.  M. 

—Later  Edition— Hodder  &  Stonghton,  1908.    B.  M. 

1240—  Moore,  Mrs.  N.  H.— Lace-maker.  St.  Nicholas.  V.  34,  pp.  816-817,  Jnly, 
1907. 

1241 —  Morasso,  Mario — L'Arte  dei  Merletti  a  Venezia.  Emporium,  1902,  Ber- 
gamo. 

1242 —  Morasso,  Mario — I  Merletti  Veneziana  nella  storia  e  nella  vita.  Begina, 
1904,  No.  3,  Naples. 

1243 —  Morisset,  Blanche  and  Henriette,  at  Paris — Chemin  de  table.  Art  ap- 
plique, 2e  annee,  Paris. 

1244 —  Morris,  E. — Cut-work  Table  Linen.  Harper's  Bazaar.  V.  40,  pp.  654- 
656,  March,  1909. 

1245 —  Morton,  B. — How  to  Take  Care  of  Lace  Cnrtains.  Country  Life.  V.  15, 
p.  16,  November,  1908. 

1246 —  Mosse,  Grebr. — Art,  Linen  and  Lace. 

1247 —  Most  Beautiful  Laces  in  America :  pictures.  Ladies  Home  Journal.  V. 
18,  p.  201,  September,  1901. 

1248 —  Monchoir  en  guipure.    Arte  Italiana,  1901,  No.  10,  Milan. 

1249 —  Mount,  M.  W. — Oriental  Designs  in  Table-linen.  Woman's  Home  Com- 
panion.   V.  31,  p.  33,  January,  1904. 

1250 —  M.,  R. — Niiw  Modelbuch,  allerley  gattungen  Dantelschniir,  so  diser  zyt  in 
hoch  Tiitschlanden  geng  und  bruchig  sind,  zu  underricht  jren  Leertoch- 
teren  unnd  alien  anderein  schurwirckeren  zu  Zurych  und  wo  die  sind,  yetz 
niiwlich  zubereit,  und  erstmals  in  truch  verfergket  durch  R.  M.  No  place 
or  date,  but  as  appears,  both  from  the  title  and  preface,  to  be  printed  at 
Zurich,  by  Christopher  Froschover.  The  date  probably  from  1530  to  1540. 
4to.  24  leaves.  On  the  title  a  woodcut  of  two  women  working  at  lace  pil- 
lows.   Vienna  Library,  Royal  Library,  Munich. 

1251 —  M.,  R. — Froschower,  (Pub.) — Bobbin  Lace  Patterns,  by  R.  M.  Zurich, 
1560. 

1252 —  Muentz,  Eugene — Tapisseries,  Broderies  et  Dentelles.  Paris,  Librairie 
de  l'Art,  1890.    43  pages.    In  British  Museum. 

1253 —  Miiller,  C. — New  Modelbuch  Von  vilen  artigen  vnd  Kunstreichen  Modem 
zugericht,  Allen  Najerin,  Seidenstricken,  vnd  andern  so  sich  kiinstlichs 
nayens,  wirgkens  oder  stickens,  auch  frembder  Ziig  oder  Moritzgen  ge- 
brauchen,  sehr  dienstlich,  auch  vormals  dergleichen  nie  in  Truck  ausgangen. 


326 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


M.D.LXXII.  [On  last  page  a  printer's  device,  a  naked  man  holding  an 
arrow]  Getruckt  zu  Strassburg  am  KornmarcM  bey  Christian  Muller 
[Cypher  C  K  and  a  knot.]    4°.    Cuts.    B.  K.  M. 

1254 —  Muller,  Mile.  M. — Col;  eventail.    L'Art  decoratif,  5e  annee,  Paris. 
 Munster  Beproduction — See  No.  810. 

1255 —  Murphy,  B. — Search  for  Old  Lace  in  Venice.  Catholic  World.  V.  22,  p. 
852. 

1256 —  Murphy,  S.  J. — Report  on  the  lace  industry  in  France  and  Belgium, 

1887.  Fcp.  fol.    S.  K.  M. 

1257 —  Murphy,  S.  J. — Extracts  from  the  (above)  report.  8vo.  Waterford,  1887. 
S.  K.  M. 

1258 —  Musee  de  Cluny — Catalogue  du  Musee  de  Cluny,  a  Paris. 

1259 —  Musterbuch  fur  Stickerei.  36  plates.  Plauen,  C.  Stoll.  (Collection  of 
Kursheedt  Manufacturing  Co.,  N.  Y.) 

1260 —  Musterenwiirfe  fur  Stickereien,  Spitzen  und  Gardinen,  preisgekront,  etc. 
Zweite,  von  19  auf  30  Tafeln  vermehrte  Auflage.    Plauen,  Chr.  Stoll,  n.d. 

1261—  Myra— Crochet  Edgings.    London,  1888,  etc.    8°.    B.  M. 

1262 —  Myra — Harlequin  Crochet.    Designs  for  needlework.     64  pp.  London, 

1888.  8°.  B.  M. 

1263 —  Myra's  Knitting-books.    London,  1889.    In  British  Museum. 

1264 —  Myra  &  Son — Antique  and  Modern  Point  Lace.  (The  Silkworm  Series.) 
London,  (1888).  12°. 

1265 —  Myra  &  Son — Devonshire  or  Honiton  lace.  (The  Silkworm  Series.)  Lon- 
don (1888).  12°. 

 N  

1266 —  Naber,  J.  W.  A. — Dentelles  anciennes  et  modernes  au  Musee  des  Arts  a 
Haarlem.    Haarlem,  1903.    In  British  Museum. 

1267 —  Naber,  J ohanna  W.  A. — Oude  en  nieuwe  Kantwerken.  Haarlem,  H.  Klein- 
mann  &  Co.,  1903. 

1268—  Naguet,  F.— Broderie  et  Dentelles.    L'Art,  1889.    V.  46,  pp.  3-6. 

1269 —  Nakladem  Mestskeho  prumysloveho  musea  v  Hradci  Krai.  (Dentelles 
d'apres  d'anciens  modeles  a  Vamberg.  Publiees  par  le  Musee  Industriel 
de  Hradec  Kralove). 

1270 —  Nanduti  or  Spider-web  Lace  of  Paraguay.  Bulletin  International  Union 
of  American  Republics.    V.  29,  pp.  570-576,  September,  1909. 

1271 —  National  Art  Library,  South  Kensington  Museum.  A  list  of  books  and 
pamphlets  illustrating  part  2  lace  and  needle  work.  86  pages.  Eyre  & 
Spottiswoode,  London,  1888. 

1272 —  Natural  History  of  Dress,  The— VII,  Lace.  The  Leisure  Hour,  June, 
1870,  London. 

1273 —  Needle  and  Brush — Butterick  Publishing  Co.  (Collection  of  Kursheedt 
Manufacturing  Co.,  N.  Y.) 

1274—  Needlecraft— Nos.  13,  15,  19,  21,  23,  27,  41,  43,  49,  51,  64.  Manchester 
School  of  Embroidery.    (Collection  of  Kursheedt  Mfg.  Co.,  N.  Y.) 


BIBLIOGRAPHY 


327 


1275 —  Neh-und  Strickbuch  (neues)  fur  das  schone  Geschlecht,  etc.  (27  plates 
of  designs  for  Samplers  and  other  needlework.)  Obi.  fol.  Nurnbergund 
Leipzig,  1874.    S.  K.  M. 

1276 —  Neil,  M.  H. — Washing  and  Ironing  Lace.  Delineator.  V.  75,  p.  326,  Apr. 
1910. 

1277—  Netto,  J.  F.— Wasch-Bleich-Platt-und  Naeh-Buch,  zum  Selbstunter- 
richt  fur  Damen.    (Plates).    Obi.  fol.    Leipzig,  1796.    S.  K.  M. 

1278 —  Netto,  J.  F. — Zeichen-Mahler-und  Stickerbuch  zur  selbstbelehrung  fur 
Damen  welche  sich  mit  diesen  Kunsten  beschastigen  von  J.  F.  Netto  Leip- 
sick,  1795.  In-folio  oblong.  24  planches,  avec  nombreux  modeles  de  bro- 
deries  a  executer  sur  soie.  Chaque  planche  est  en  double,  en  noir  et  en 
couleur. 

1279 —  Netto,  J.  F.  and  F.  L.  Lehmann — Neuestes  Toilettengeschenk  der  Strick- 
Stick-,  Nah-und  anderen  weib  lichen  Arbeiten  auf  das  Jahr  1811  und 
1812,  mit  Auf  satzen  iiber  Anwend,  d.  hoheren  Kunst  und  iiber  Gegenstande 
des  weibl.  Beruf  s  und  Verwaltung  d.  Hauswesens.  Mits  18  schwarzen  und 
kolor.  Tafeln.  Dasselbe  auf  das  Jahr  1814  u.  1815.  Mit  32  kolor.  u. 
schwarzen  Kupf.  Leipzig. 

1280 —  Newbery,  F.  H. — "Work  of  Ann  Macbeth.  International  Studio,  V.  18,  pp. 
40-49,  November,  1902. 

1281 —  New  Cross-stitch  in  Italian  Design.  Ladies  Home  Journal,  V.  31,  p.  38, 
November,  1914. 

1282 —  New  Modelbuch  von  allerhandt  Art  nehens  und  Stickens.  Frankfurt  a/M. 
Niclas  Bassee,  1571.  i  \p  Hl'^Tji !"  I|  ^  !   !  11       '  1  [*Wl^['  ;i 

1283—  New  Things  in  Crochet.   Ladies'  Home  Journal,  V.  29,  p.  30,  July,  1912. 

1284 —  New  Things  in  Fancy  Crochet.  Ladies'  Home  Journal,  V.  28,  p.  29,  Aug. 
1911. 

1285 —  New  Furmbuhclin,  Ein — Sans  lieu,  ni  date.  In-4°  gothique.  p  n  c.  4 
bandes  d 'arabesques.  Au  verso  4  bandes  d'arabesques  noires  sur  un  fond 
blanc  quadrille  tres  fin.  B.  Sur  un  fond  quadrille  on  lit  en  gothique  les 
mots :  so  ir  um  mir  bleybet.  Au  verso :  un  mein  wort  um  eudz.  p  n  c.  Bley- 
ben  Werdet  ir  bittu.  Au  verso,  Was  ir  wolt  und  es.  p  n  c.  Wirt  eudz  mi 
derfart.  Au  verso,  Denn  feid  lass  idz.  p  n  c.  Eiihz  meinen  fridgeb.  Au 
verso,  ich,  eudz  midzt  gebidh  eudz.  C.  Wie  die  welt  gibt.  Au  verso, 
Tholus  aber.  p  n  c.  Lettres.  Verso  lettres.  p  n  c.  Lettres.  Verso  let- 
tres.  pnc.  Lettres  majuscules.  Verso  Hatt  und  wer  midz  sihrt  der.  D. 
Einceaux.  Verso  rinceaux.  pnc.  3  bandes  de  rinceaux  en  hauteur, 
arabesques.  Verso  4  bandes  d'arabesques.  pnc.  4  bandes  d'arabesques 
en  hauteur,  chasse  au  cerf.  Verso  3  bandes  de  Groteschi.  pn  c.  4  bandes 
de  Groteschi.  Verso  bandes  d'arabesques.  E.  Groteschi.  Arabesques. 
Verso,  idem.  Volume  extremement  rare.  Non  cite.  Paraissant  avoir  ete 
publie  vers  1530*.  Le  titre  est  imprime  en  grosses  lettres  de  forme.  Les 
modeles  de  dentelles  sont  au  nombre  de  40,  tous  a  executer  au  lacis,  graves 
assez  grossierement  ces  modeles  sont  remarquables  par  leur  tournure  arch- 
a'ique.  Ce  sont  surtout  des  bandes  et  ornements  avec  rinceaux  et  grotes- 
ques inspires  de  la  sculpture.  On  y  trouve  aussi  un  alphabet  et  des  priere 
n 'occupant  pas  moins  de  16  pages.    Sur  une  des  planches,  une  priere  cette 


328  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

inscription:  VAHMIS.  Vente  Destailleurs,  1895.  See  No.  1221.  Biblio- 
theque  Nationale. 

1286 —  Nieder,  Marie — Sonnen-Spitzen — Teneriffa  Arbeit.  1906. 

1287 —  Niemann,  Ernst — Die  Spitzenkloppelei  im  Erzgebirg.  5  dessins  de  Gr. 
Mandlick.  Daheim,  Dec.  21,  1901,  Leipzig. 

1288 —  Normal  programm  der  K.  K.  Fachschulen  fur  Spitzenkloppelei.  Zentral- 
blatt  fur  das  geiverbl.  Unterrichtswesen  in  Osterreich.  Vienna,  Alf.  Hold- 
ers, 1903. 

1289 —  North  Ayrshire  Lace  Curtain  Co. — Novelties  for  1901  in  lace  curtains. 
Darvel  (Nottingham  pr.)    (1901)  la.  8o. 

1290—  Nottingham  Lace,  W.  S.  Elliott's  Designs.  Artist,  V.  26,  p.  99,  New  York. 

1291 —  Nottingham  Lace  Edgings — The  Artist,  March,  1900,  London. 

1292 —  Nottingham  Lace:  Its  History  and  Manufacture.  Blackwood's  Edinburgh 
Magazine,  October,  1882,  Edinburgh  or  London. 

1293 —  Nottingham  Lace-making.  Scientific  American  Supplement,  V.  64,  p.  387, 
December  21,  1907. 

1294 —  Nottingham — Patterns  of  Nottingham  Lace,  referred  to  in  the  Mar.  Re- 
port of  the  Nottingham  School  of  Design,  1850.  (73  patterns  in  a  folio 
cover.)    S.  K.  M. 

1295—  Nottingham  Statistics  of  the  Bobbin  Net  Trade,  etc.  Fol.  (Nottingham) 
1833-6.   S.  KM. 

1296 —  Nourry,  Claude,  diet  le  Prince — La  Fleur  des  patrons  de  lingerie,  a  deux 
endroitz,  a  point  croise,  a,  point  couche  et  a  point  picque  en  fil  d'or,  fil 
d'  arget  et  fil  de  soye  ou  aultre  en  quelque  ouuraige  que  ce  soit  en  com- 
prenant  Part  de  broderie  et  tissuterie.  On  les  vend  a  Lyon  en  la  maison 
de  Claude  Nourry  diet  le  Prince.  In-4°.  Ce  titre  est  circonscrit  par  une 
composition,  on  Pon  voit  en  haut  un  entablement  demi-circulaire  posant 
sur  deux  colonnes  surmontees  chacune  d'une  petite  figure  de  femme  brodant 
a  Paiguille.  Au  milieu,  un  homme  travaillant  a  un  petit  metier  qu'il  tient 
des  deux  mains,  appuye  sur  son  ganou.  En  bas  de  la  composition  et  au- 
dessous  du  titre,  deux  femmes  tra  vaillant,  celle  de  droite  a  un  metier  de 
basse  lisse,  celle  de  gauche  a  un  petit  metier  pose  devant  elle  sur  une 
table.  Elle  est  assise  sur  une  chaise  de  trois  quart  a  droite.  Dans  les 
medallions  ronds  qu'on  voit  au  milieu  des  colonnes,  a  gauche  un  lion 
surmonte  de  trois  fleurs  de  lys,  a  droite  un  cceur  surmonte  d'une  couronne. 
Cette  premier  page  est  cotee  A.  Rien  au  verso.  Dans  certains  exem- 
plaires,  ce  verso  est  quadrille.  Au  verso  d'un  page,  on  voit  un  cceur  sur- 
monte d'une  couronne  dans  un  ecusson  au-dessous  duquel  est  un  lion 
couche  et  rugissant.  Cette  marque  d'imprimeur  est  dans  un  encadrement 
rectangulaire  sur  la  bordure  duquel  on  lit:  Cor  contritum  et  humiliatum 
devs  non  despiciet,  Psalmo  50.  En  resume,  12  pages  dont  21  planches  de 
broderies.  Dans  certains  exempl aires  la  marque  d'imprimeur  est  modi- 
fiee.  Le  cceur  surmonte  d'une  couronne  est  place  au  centre  d'une 
couronne  d'epines,  autour  de  laquelle  s'enroule  une  bander olle  sur  la- 
quelle  on  lit :  Cor  contritum  et  humiliatum  deus  non  despiciet.  Le  lion 
est  ou-dessous,  comme  ci-dessus.    Le  tout  est  entoure  d'un  trait  carre 


BIBLIOGRAPHY 


329 


rectangulaire  et  d'un  filet.  Aux  quatre  coins  interieurs  de  cet  encadrement 
une  fleur  de  lys.    Vente  Destailleurs,  1895. 

1297 —  Nourry,  C. — La  fleur  des  patrons  de  lingerie,  a  deux  endroitz,  a  point 
croise,  a  point  couche,  et  a  point  picque,  en  til  dor,  fil  darget,  &  fil  de  soye, 
ou  aultre  en  qnelque  ounrage  que  ce  soit,  en  comprenant  lart  de  broderie 
et  tissuterie.  On  les  vends  a  Lyo  en  la  maiso  de  Claude  nourry,  diet  Le 
Prince.    (Cocheris  reproduction.) 

1298 —  Nourry,  Claude,  die  le  Prince — Livre  nouueau  diet  Patrons  de  lingerie  ; 
e'est  assavoir  a  deux  endroitz,  a  point  croise,  point  couche,  et  point  picque, 
en  fil  d'or,  d 'argent,  de  soye,  ou  aultre,  en  quelque  ouurage  que  ce  soit:  en 
comprenant  Tart  de  broderie  et  tissuterie.  On  les  vend  a  Lyon  en  la  mai- 
son  de  Claude  Nourry  die  le  Prince.  Sans  date.  In-4°  gothique.  Ce  titre 
est  dans  un  encadrement  forme  par  deux  colonnes,  surmontees  d'un  fron- 
ton demicirculaire  et  decore  en  haut,  a  droite  et  a  gauche,  par  des 
rinceaux  de  feuilliges,  sur  le  fut  de  ces  colonnes  et  attaches  par  des 
rubans  deux  ecussons.  Dans  celui  de  gauche  on  voit  un  lion,  et  au-dessus 
trois  fleurs  de  lys.  Dans  celui  de  droite  un  coeur  surmonte  d'une  couronne. 
En  bas  au-dessous  du  titre,  deux  f  emmes  travaillant.  Celle  de  droite  de 
profil  a  gauche  a  un  metier  a  rub  an  pose  devant  elle,  sur  une  table.  L?- 
autre  est  a  moitie  cachee  par  un  metier  auquel  elle  travaille.  Page  non 
cotee.  Au  verso  de  cette  page  dans  un  ecusson  forme  par  des  cuirs  en- 
roules,  un  cceur  surmonte  d'une  couronne,  le  tout  dans  une  couronne  d'- 
epines  autour  de  laquelle,  s  'enroule  une  banderole,  sur  laquelle  on  lit :  Cor 
contritum,  et  humiliatum  deus  non  despiciet.  Ps.  50.  Au-dessous  un  lion 
couche.  Cette  marque  d'imprimeur  est  entouree  d'un  trait  carre  et  d'un 
filet.  En  resume  24  pages  dont  45  planches  de  broderies.  Vente  Yemen- 
itz,  Vente  Destailleurs. 

1299 —  Nourry,  Claude — See  Saincte  Lucie. 

1300 —  Nouveaux  Portraits  de  Point  coupe  et  Dentelles  en  petite,  Moyenne  et 
gr  ande  Forme.  Nouvellement  in  vente  et  mis  en  lumiere.  Montbeliard, 
1598. 

1301 —  Nulle,  Mevrouw,  L.  W. — Handleiding  tot  het  vervaardigen  van  duchess- 
kant;  leerbock  der  nederlandische  Kantwerkschool,  met  inleiding  van  A. 
E.  von  Saher.   Haag,  1907. 

 O  

 O'Brien,  see  Vere,  No.  1855. 

1302—  Old  Lace.   Once  a  Week,  V.  12,  p.  288. 

1303 —  Old  Lace — (Lace  Flounce,  Blonde,  worn  by  the  Empress  Eugenie).  The 
Connoisseur,  March,  1902,  London. 

1304 —  Old  Laces.  35  photographs.  P.  Calavas.  (Collection  of  Kursheedt  Man- 
ufacturing Co.,  N.  Y.) 

1305 —  Old  Venetian  Point  Lace,   Magazine  of  Art,  V.  7,  p.  66. 

1306—  Old  World  Laces.  Harper's  Bazaar,  V.  33,  pp.  1081-1084,  Aug.  25,  1900. 
 Ongania  Reproductions—See  Nos.  627,  628,  629,  812,  1112,  1321,  1.357, 

1369,  1370,  1371,  1372,  1402,  1412,  1627,  1629,  1631,  1735,  1812,  1816,  1823, 
1827,  1832,  1839,  1954,  1957. 


330 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1308 —  Oriental  Lace — exhibition  at  the  National  Arts  Club,  N.  Y.  Times,  Mar. 
30,  10:5. 

1309 —  Origine  de  la  dentelle  de  Venise  et  l'ecole  de  Burano.    Venice,  1897. 

1310 —  Ornamentation  for  Textiles.  Nene  farbige  Vorlagen  fur  die  Textil-Indus- 
trie.  Plauen,  n.d.  One  vol.,  oblong  folio,  original  boards.  24  plates 
with  2,  3  or  4  designs  in  colors. 

1311 —  Ornamento  delle  belle  et  virtuose  donne.  Opera  nova  nella  qualle  trover- 
rai  varie  sorti  di  frisi,  con  li  quali  si  potra  ornat  ciascuna  donna  et  ogni 
letti  con  ponti  tagliati,  ponti  gropposi,  et  ogni  altra  sorte  di  ponti  per  fare 
quelle  belle  opere  che  si  appartengono  alle  virtuose  et  lodevoli  Franciulle. 
Libro  primo.  In-4°.  Sans  lieu,  ni  date.  Ce  titre  est  inscrit  dans  un  car- 
touche blanc,  dont  les  bords  sont  ornementes  de  cuirs  enroules.  En  bas  une 
f  emme  de  la  haute  societe,  assise  a  droite  de  profil  a  gauche,  un  ouvrage 
sur  ses  genoux,  montre  du  doigt,  la  main  etendue,  une  broderie  posee  sur 
les  genoux  d'une  ouvriere  assise  pres  d'elle  sur  une  chaise.  A  gauche  de  la 
composition  une  troisieme  femme  regarde  egalement  cet  ouvrage.  En  bas 
au  premier  plan  a  leurs  pieds,  une  corbeille.  Eien  an  verso.  12  feuillets 
formant  un  cahier  de  12  pages  non  cotees.  Au  verso  de  la  derniere  page 
on  lit  :  Alle  virtuose  et  nobili  donne.  Au-dessous  une  petite  tete  d'enfant 
ailee  et  dix  lignes  de  texte  finissant  par  ces  deux  vers :  Quelle  che  questo 
libro  compraranno,  Mai  facie  di  cuser  si  trouaranno.  En  resume,  12  pages 
dont  21  planches  de  broderies.  Catalogue  Destailleurs.  On  a  scutcheon. 
" Libro  Primo."   Lib.  Victoria,  and  Albert  Museum.    See  Pagan. 

1312 —  Ornamento  delle  belle  et  virtuose  donne,  etc. — 32  leaves,  with  woodcut  de- 
signs on  both  sides.  Venetian,  16th  cent.  Sm.  4to.  n.p.,  n.d.   S.  K.  M. 

1313 —  Ornamento  delle  belle  donne  et  virtuose:  Opere  in  cui  troverai  varie 
sorti  di  frisi  con  li  quali  si  potra  ornar  ciascun  donna.  Ven.  1544.  Quoted 
in  Cat.  Cappi,  of  Bologna,  1829. 

1314 —  Ornamento  Nobule  per  Ogni  Gentil  Matrona,  dove  si  Contiene  Bavari, 
frisi  d'lnfinita  Bellezza  Lauroi,  per  Linzuoli  Traverse,  e  Facuoli,  etc., 
Opera  per  Pittori,  Scultori  et  Disegnatore  gioueuole,  etc.  19  plates  of 
designs  for  Lace,  etc.  Printed  in  facsimile  of  the  original  of  1620.  Folio, 
Venice,  1876. 

1315 —  Ornements  remarquables  de  l'Exposition  industrielle  des  ouvrages  de 
femmes  en  1881,  publies  par  le  Ministere  d  Agriculture,  etc.  Obi.  fol. 
Budapest,  1882.    S.  K.  M. 

1316 —  Ostaus,  Vean — Le  Tresor  des  patrons,  contenant  diverses  sortes  de  brod- 
eries et  lingeries  pour  coudre  avec  grande  f  acilite  et  pour  ouvrer  en  di- 
verses sortes  et  picquer  avec  l'esguille,  pulveriser,  par  dessus  et  faire  ou- 
vrages de  toutes  sortes  de  points  par  Jean  Ostaus,  Lyons,  Ben,  Eigaud, 

1580.  In-4°. 

1317 —  Ostaus,  Jean — Le  Tresor  des  patrons,  contenant  diverses  sortes  de  bro- 
deries et  lingeries  pour  coudre  avec  grande  facilite  et  pour  ouvrer  en  di- 
verses sortes  de  piquer  avec  Pesguille,  pulveriser  par  dessus  et  faire  ou- 
vrages de  toutes  sortes  de  points  &ct  par  Jean  Ostaus,  Lyon,  Ben.  Bigaud. 

1581,  in  4-to.   Quoted  in  Art.  11  Tricot  et  Travaux  des  Dames.' ' 


BIBLIOGRAPHY 


331 


1318 —  Ostaus,  Jean — Le  Tresor  des  patrons,  contenant  diverses  sortes  de  bro- 
deries et  lingeries  pour  coudre  avec  grande  facilite  et  pour  ouvrer  en  di- 
verses sortes  et  picquer  avec  Pesguille,  pulveriser  par  dessus,  et  faire 
ouvrages  de  toutes  sortes  de  points  par  Jean  Ostaus.  Lyon,  Ben,  Eigaud, 
1585.  In-4°.  Mentionne  dans  la  Bibliotheque  Francaise  de  Du  Verdier. 
Edition  de  Rigoley  de  Juvigny.    Tome  2,  page  485,  art.  Jean  Ostaus. 

1319 —  Ostaus,  Giovanni. — La  vera  perfettione  del  disegno  di  uarie  sorti  di  ricami, 
&  di  cucire  ogni  Sorta  di  punti  a  f  ogliami,  puti  tagliati  punti  a  fili  &  rimes- 
si,  piiti  incroaciati,  Puti  a  struora  &  ogn'  altra  arte,  che  dia  opera  a  di- 
segni.  Fatto  nouamete  per  Giouanni  Ostaus.  Vittoria.  [Mark,  with  motto 
Ego  sum  via  et  Veritas.]  Con  gratia  &  priuilegio  dell'  Illustriss.  Senato 
Venetiano  per  Anni  X.  In  Venetia,  appresso  Giouanni  Ostaus.  1564. 
[Dedication  to  Signora  Lucretia  Contarino.]    8°.   Cuts.   B.  K.  M. 

1320 —  Ostaus,  Giovanni — La  vera  perfettione  del  disegno,  di  varie  sorti 
di  ricami,  et  di  cucire  ogni  sorte  di  punti  a  fogliami,  punti  tagliati. 
punti  a  fili,  et  rimessi,  punti  nicrociati,  punti  a  stuora,  et  ogn'altra  arte, 
che  dia  opera  a  disegni.  Fatto  Nuovamente  per  Giovanni  Ostaus.  Vit- 
toria. Con  gratia  et  privilegio  deir  Illustriss.  Senato  Venetiano  per  anni 
X.  In  Venetia  appresso  Giovanni  Ostaus,  1567.  In  4°  oblong.  Sur 
ce  titre  un  medaillon  ovale,  contenant  une  femme  debout  de  trois  quart  a 
droite,  la  tete  presque  de  face,  tenant  d'une  main  sa  jupe,  de  Pautre  un 
cceur  enflamme.  Au  fond  la  mer  sillonnee  de  vaisseaux.  A  gauche  un 
tertre  avec  un  tronc  d'arbre.  On  lit  autour  de  cette  figure  diverses  in- 
scriptions et  sur  un  livre  ouvert  en  bas  a  gauche  a  ses  pieds :  Dum  tempus 
abemus  of eremur  Bonum.  Sur  la  bordure  du  medaillon :  Ego  sum  via  et 
Veritas.  Dedicace  :  Alia  clarissima  signora  Lvcretia  Contarini.  Une  let- 
tre  i  gravee  sur  bois.  Verso,  une  gravure  sur  bois  representant  Lucrece 
Romaine  entouree  de  ses  femmes.  A  droite  un  guerrier  dans  une  porte. 
Signee  en  bas  a  gauche  dans  Pinterieur  du  dessin :  Jose  Sal.  1557.  (Joseph 
Salviati,  plus  connu  sous  le  nom  de  Porta  Garfagnino).  Deux  sonnets  en 
regard  Pun  de  Pautre.  Celui  de  gauche,  Alia  Clairissima  signora  Lucretia 
Priuli.  Celui  de  droite :  Sonetto  alle  saggie  et  Virtuose  donne.  Verso, 
preface  aux  lecteurs :  Alii  saggi  et  giuditiosi  lettori.  La  derniere  page  non 
cotee  mais  numerotee  LXXIX  a  au  verso  un  fleuron  qui  est  le  meme,  que 
celui  que  porte  le  titre  avec  en  haut  les  mots  ABODE  Tutti  sono  qua- 
derni.  Et  on  bas:  Stampato  in  Venetia  per  Giovanni  Ostaus, 
MDLXVII  (1567).  73  planches  de  broderies.  Cet  ouvrage  est  certaine- 
ment  un  des  plus  beaux  et  des  plus  interessants  de  cette  serie.  On  y  trouve 
des  modeles  pour  tous  les  genres  de  travaux  a  Paiguille.  On  remarque 
parmi  les  planches  des  sujets  mythologiques,  des  grotesques,  des  rinceaux 
d'ornements,  des  f rises,  des  scenes  de  chasse,  des  paysages,  le  tout  d'un 
gout  exquis.  Trente-deux  planches  seulement  ont  trait  aux  broderies. 
Vente  Benedetto  Maglione,  Paris  1894,  Vente  Pirovano,  Eome,  1901.  Vente 
Destailleurs,  1895. 

1321 —  Ostaus,  Gio. — Le  Vera  Perfettione  del  disegno  di  varie  sorti  di  Recami  et 
di  cucire,  punti  a  fogliami,  punti  tagliati,  punti  a  fili,  et  rimessi  punti 
in  crusiati,  punti  a  stuora,  et  ogni  altra  arte  che  dia  opera  a  disegni.  35 


332 


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designs  for  lace,  etc.  Facsimile  reprint  of  the  original  edition  of  Venice, 
1567.    Small  oblong  4to.   Venice,  1878.    Ongania.  Metro.  Mus.  S.  K.  M. 

1322—  Ostaus,  Gio.— [Another  edition.]    1584.    See  Valvassore.    See  1320. 

1323 —  Ostans,  Gio. —  [Another  edition.]  La  vera  perfettione  del  disegno  di  varie 
sorte  di  ricami  &  di  cucire  ogni  sorta  di  pnnti  a  fogliami  .  .  .  E  di 
nnouo  aggiuntoui  varie  sorti  di  merli,  e  mostre  che  al  presente  sono  in  vso 
&inpractica.  In  Venetia,  Appr ess o  Francesco  di  Franceschi  Senese  all' 
insegna  delta  Pace.  1591.  Eegistro  ABODE.  Tutti  sono  quaderni.  In 
Venetia,  MDXC.  The  edition  of  1564  is  the  earliest  hitherto  described. 
See  1320.  V.  &  A.  M. 

1324 —  Ostans,  Giovanni — La  vera  perfezione  del  Disegno  per  punti  e  ricami.  Ee- 
prodnced  under  direction  of  Elisa  Eicci.   Bergamo,  1909. 

1325 —  Osterreichisches  Museum  (K.  K.)  Genahte  Spitzen.  Bordnre  XVI. 
Jahrhnndert.    Blaetter  fur  Kunstgewerbe,  1875,  Vienna. 

1326 —  Osterreichisches  Mnsenm  (K.  K.)  Original  Stickmuster  der  Eenaissance, 
etc.   2d  edition,  Vienna,  E.  v.  Waldheim,  1880. 

1327 —  Osterreichisches  Mnsenm  (K.  K.)  Tauftuch,  XVII.  Jahrhnndert  aufge- 
nommen  von  Marianne  Fiirst  (filet  brode).  Blaetter  fur  Kunstgewerbe, 
1876,  Vienna. 

1328 —  Osterreichisches  Mnsenm  (K.  K.)  Venetianische  Musterblatter  ans  dem 
XVI.  Jahrhnndert  fur  Passementerie- Arbeiten  nnd  verwandte  Techniken 
(Le  Pompe,  Venice,  1562,  Lib.  II).  Vienna. 

1329 —  Oswald— Manufacture  Eoyale  de  Dentelles  de  Bruxelles. 

1330 —  Ouvrieres  en  dentelles  dans  l'Erzgebirge,  en  Saxe.  Magasin  Pittoresque, 
1848. 

1331 —  Overloop,  E.  van — Au  Pays  de  la  Dentelle  (Belgique).  (Album  de  la 
Dentelle.  Exposition,  Liege,  1905).  Numero  special  de  La  Dentelle,  Paris, 
1905. 

1332 —  Overloop,  Eugene  van — Catalogue  des  Ouvrages  se  rapportant  a  l'lndus- 
trie  de  la  Dentelle.  Brussels,  Hayez,  1906. 

1333 —  Overloop,  Eugene  van — Dentelles  anciennes  des  Musees  Eoyaux  des  Arts 
Decoratifs  et  Industriels  a  Bruxelles.  Brussels,  Grau  Oest  &  Cie.,  1911. 
100  plates,  folio. 

1334 —  Overloop,  Eugene  van — Dentelles  de  la  Collection  Alfred  Lescure.  Brus- 
sels, Grau  Oest  &  Cie,  1914. 

1335 —  Overloop,  E.  van — Materioux  pour  servir  a  Phistoire  de  la  dentelle  en  Bel- 
gique, 1908. 

1336 —  Overloop,  E.  van — Musees  Eoyaux  du  Cinquantenaire.  Industries  d'Art 
Brussels,  1906. 

1337 —  Overloop,  E.  van — Nos  Collections  de  Tissus,  de  Broderies  et  de  Dentelles. 
Bull.  Musees  Royaux  des  Arts  decoratifs  et  industriels.  October,  1903, 
Brussels. 

1338 —  Overloop,  E.  van — Nos  Dentelles.  Bull,  des  Musees  Royaux  des  Arts 
decoratifs  et  industriels,  April,  1904,  Brussels. 

1339 —  Owen,  Mrs.  H. — Ilium.  Book  of  Needlework ;  comprising  Knitting,  Net- 
ting,Crochet,  and  Embroidery.  Plates.   8vo.   London,  1847.   S.  K.  M. 


BIBLIOGRAPHY 


333 


1340—  P.,  A.  E. — Allerhand  Model  zum  Stricken  und  Nahen.  1  Theil.  24  plates 
signed  A.  E.  P.  (also  Sampler  Alphabet.)  Obi.  sm.  Fol.  n.p.  1748.  S. 
KM. 

1341 —  Pagan,  Matheo — Giardinetto  nuovo  di  punti  tagliati  et  gropposi  per  exer- 
citio  et  ornamento  delle  Donne.  Alle  belle  et  vertudiose  (sic)  donne 
Matheo  Pagan.  Venise,  1543.  Un  volume  in-4°.  24  feuillets  sur  bois, 
modeles  de  broderies.    Collection  du  baron  Davillier. 

1342 —  Pagan,  M. — Giardinetto  novo  di  pvnti  tagliati  Et  gropposi  per  exercitio  et 
ornamento  delle  donne.  Au-dessous  de  ce  titre  un  medaillon  ovale,  avec 
une  bordure  dans  laquelle  on  lit:  Senza  di  me  Thuom  fassi  a  dio  riballo. 
Dans  Pinterieur  dn  medaillon  une  figure  de  femme  representant  la  Foi. 
Elle  est  agenouillee  de  profil  a  droite,  tenant  des  deux  mains  devant  elle  un 
calice  surmonte  d'une  hostie.  Pres  d'elle  la  croix,  dans  le  fond  un  soleil 
rayonnant,  a  gauche  un  rideau.  Au  verso  de  ce  titre,  une  dedicace :  Alia 
Signora  Lucretia  Eomana  Matio  Pagan  salute.  Puis  commencent  les 
Broderies.  Au  verso  un  sonnet,  commeneant  par  les  mots :  Alle  belle  et 
virtvose  donne  Mattio  Pagan.  Au-  dessous  du  sonnet  :  Stampato  in  Ve- 
negia  per  Matthio  Pagan  in  Frezaria,  in  le  case  noue  il  qual  tien  per  in- 
segna  la  Fede  MDXLIIII  (1544).  En  resume,  24  feuillets,  dont  un  titre  et 
44  dessins  de  broderies.    In-4°.    Bibliotheque  Nationale. 

1343 —  Pagan,  Mathio —  Giardinetto  novo  di  punti  tagliati  et  gropposi  per  exer- 
citio et  ornamento  delle  Donne.  A  la  fin :  Stampato  in  Venetia  per  Mathio 
Pagan,1548. 

1344 —  Pagan,  M. — Giardineto  novo  di  Punti  tagliati  et  gropposi,  per  esurcitio  et 
ornamento  delle  donne.  At  the  end,  Venetia,  Mathio  Pagan  in  Frezzaria, 
in  le  case  nove  (tien  per  insegna  della  Fede)  MDLI.  Dedication,  Alia  sig- 
nora Lucretia,  Eomana  Mathio  Pagan,  salute.  Florence.  M.  Bigazzi. 

1345 —  Pagan,  Mathio — Giardinetto  novo  di  punti  tagliati  et  gropposi  per  exer- 
citio et  ornamento  delle  donne.  A  la  fin :  Stampato  in  Venegia  per 
Matthio  Pagan,  in  Frezaria  in  le  case  nove  il  qual  tien  per  insegna  la  Fede, 
MDLIV. 

1346 —  Pagan,  Matthio — Giardinetto  novo,  etc.  (Same  as  1345).  1556.  Vente 
Bancel. 

1347 —  Pagan,  Matthio — Giardinetto  novo  di  Punti  Tagliati  Et  gropposi  per  exer- 
citio et  ornamento  delle  donne.  A  la  fin :  Stampato  in  Venegia  per  Mat- 
thio Pagan,  in  Frezaria,  in  le  case  noue  il  qual  tien  per  insegna  la  Fede, 
MDLVII  (1557).   Une  edition  de  1558.   Vente  Piot,  1891. 

1348 —  Pagan,  Matthio — La  gloria  e  Phonore  de  Ponti  Tagliati  e  ponti  in  aere, 
opera  noua,  Et  con  somma  diligentia  posta  in  luce.  In  Venetia  per  Mathio 
Pagano  in  Frezzaria,  alP  insegna  Della  Fede,  MDLIIII  (1554)  .  Petit  in- 
4°.  Ce  titre  est  inscrit  au  haut  de  la  page  dans  un  cartouche  entoure  de 
cuirs  et  suspendu  par  un  anneau  a  un  fronton  architectonique,  supporte 
par  deux  colonnes.  En  bas,  entre  ces  colonnes,  un  paysage  dans  lequel  on 
voit  trois  femmes.  Celle  du  milieu  debout  entre  ses  deux  compagnes  tient 
a  la  main  une  bande  de  broderie.  Les  deux  autres  assises  s'occupent  a  des 


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travaux  d'aiguille.  Gravure  sur  bois.  Au  verso,  dedicace:  All.  illvstriss: 
et  excellen.  signora,  la  signora  Vittoria  Francese  Duchessa  d'Vrbino,  dig- 
nissima  Matthio  Pagano  Sal.  Au  bas  de  cette  dedicace  la  date :  Di  Vene- 
tia, alii  XXV,  di  maggio,  MDLIIII  (1554).  Page  non  cotee.  An  verso  de 
cette  feuille  la  marque  de  rimprimerie  de  Mathio  Pagan.  C'est  un  medail- 
lon  ovale  dans  la  bordnre  dnqnel  on  lit  :  Senza  di  me  PHuom  Fassi  a  dio 
Eibello.  Dans  1'  interieur  dn  medaillon  nne  figure  de  femme  representant 
laFoi.  Elle  est  agenouillee  de  profil  a  droite,  tenant  des  deux  mains  devant 
elle,  un  calice  surmonte  d'une  hostie.  Pres  d'elle  la  croix.  Dans  le  fond 
un  soleil  rayonnant.  A  gauche  une  draperie.  Magnifique  gravure  sur  bois, 
du  style  le  plus  pur.  En  resume  16  feuille ts,  dont  29  planches  de  broderies. 
Dans  un  des  catalogues  de  la  librairie  Bahir.  on  lit.  Exemplaire  precieux 
dans  la  couverture  originale  de  publication.  Le  premier  plat  de  la  cou- 
verture  est  orne  d'un  grand  bois  representant  Pinterieur  d'un  magasin  de 
dentelles  a  Venise  au  xvi°  siecle.  Le  deuxieme  plat  porte  un  autre  bois 
representant  le  pouvoir  de  Pamour.  Ces  deux  bois  accompagnes  de  legendes 
et  descriptions  xylographiques,  sont  compris  dans  de  larges  bordures. 
Vente  Piot,  1891. 

1349 —  Pagan,  Matthio — La  gloria  et  Phonore  di  Ponti  Tagliati  a  fogliami,  delli 
quali  tu  potraif are  ponti  in  aere  ponti  in  stiora  a  fogliami :  opera  nova 
et  con  somma  diligentia  posta  in  luce.  In  Venetia  per  Mathio  Pagan,  in 
Frezzaria  alP  insegno  della  Fede,  1556.  In-4°.  La  presente  edition  ne  dif- 
fere  de  la  precedente  que  par  Penonce  du  titre  et  le  millesime.  Vente  Ban- 
cel,  1882. 

1350 —  Pagan,  M. — ^La  Gloria  et  P  honore  de  ponti  tagliati  et  ponti  in  aere  Ve- 
nezia  per  Mathio  Pagan  in  Frezzeria  al  segno  della  Fede.  1558.  16  plates. 
Dedicated  to  Vittoria  Farnese,  Duchess  of  Urbino.   Oat.  Cicognara. 

1351 —  Pagan,  M. — La  Gloria  et  L'Honore  de  Ponti  Tagliati,  e  Ponti  in  Aere, 
Opera  noua  &  con  somma  diligentia  posta  in  luce.  In  Venetia  per  Mathio 
Pagan  in  Frezaria  al  segno  della  Fede.  M.  D.  LVIII.  Fo.  Title,  dedi- 
cation, 16  ff.  (Quaritch  reproduction.)  Said  to  be  from  the  only  copy 
known  (1884). 

1352 —  Pagan,  M. — L'honesto  Essempio  del  vertuoso  desiderio  che  hanno  le 
donne  di  nobile  ingegno  circa  lo  imparare  i  punti  tagliati  e  fogliami.  In 
Venetia  per  Mathio  Pagan  in  Frezaria  al  segno  della  Fede,  M.D.L.  In 
the  V.  and  A.  Museum  is  a  copy  dated  1550.  Quoted  by  Cav.  Merli.  See 
Mrs.  Bury  Palliser's  bibliography. 

1353 —  Pagan,  Matthio — L'honesto  essempio  del  vertuoso  desiderio  che  hanno 
le  donne  di  nobile  ingegno.  Punto  tagliato  a  fogliami.  Venice,  1878.  Ee- 
print  of  edition  of  1550.    31  plates  of  patterns.    Metro.  Mus. 

1354 —  Pagan,  Matthio — L'honesto  essempio  del  uertuoso  desiderio  che  hanno 
le  donne  di  nobiP  ingegno  circa  Io  imparare  i  punti  tagliati  a  fogliami. 
In  Venetia  per  Matthio  Pagan  in  Frezzaria  al  segno  della  Fede,  MDLIII 
(1553).  Au-dessous  de  ce  titre  une  marque  d'imprimeur  rectangulaire, 
dont  Pinterieur  est  a  quatre  lobes  et  sur  la  bordure  ovale  interieure  de 
laquelle  on  lit:  Senza  di  me  PHuom  Fassi  a  Dio  ribello.  Dans  le  milieu 
des  quatre  lobes,  un  paysage  ou  Pon  voit  une  femme  se  dirigeant  vers  la 


BIBLIOGRAPHY 


335 


droite  la  tete  de  trois  quart  a,  gauche.  D'une  main,  elle  tient  un  calice 
surmonte  d'une  hostie,  de  1  'autre  une  croix  sur  la  branche  horizontale  de 
laquelle  on  lit  le  mot:  Fede.  Au  verso  d'une  page,  dans  un  medaillon 
ovale,  la  Foi  de  profil  a  droite  a  genoux,  tenant  des  deux  mains  un  calice, 
surmonte  d'une  hostie.  La  saint e  croix  est  par  terre  a  cote  d'elle.  Sur 
la  bordure  du  medaillon  on  lit:  Senza  di  me  1'Huom  Fassi  a  Dio  ribello. 
En  tout  16  feuillets  dont  24  planches  de  broderies.  Bibliotheque  Na- 
tionale. 

1355 —  Pagan,  Matthio — L'honesto  essempio  del  uertuose  desiderio,  che  hanno 
le  donne  di  nobil'  ingegno  circa  Io  imparare  i  punti  tagliati  a  fogliami. 
In  Venetia  per  Matthio  Pagan  in  Frezaria,  al  segno  della  Fede,  1556. 
In-4°.  Meme  titre  que  dans  l'edition  precedente,  n°  110.  Eien  au  verso. 
Ensuite  29  planches  disposees  sur  14  feuillets  et  le  recto  du  dernier  f  euil- 
let.  Elles  representent  de  magninques  modeles  tous  differents  de  ceux 
qu'on  voit  dans  l'edition  ci-dessus.  Le  verso  du  dernier  feuillet  contient 
la  figure  qui  se  trouve  sur  le  titre  de  l'edition  de  1553  citee  ci-dessus  n° 
110  et  qui  etait  la  marque  typographique  de  l'editeur  Pagan. 

1356 —  Pagan,  Matthio — Opera  nova  di  varie  disegni,  utili  a  ciascheduna  persona 
laquale  si  diletti  de  cusire,  recchamare  e  designare  intitulata:  Specchio 
di  vertu.  In  Venetia,  per  Matthio  Pagano  in  Frezzaria,  all  insegna  della 
Fede,  1554.  In-4°.  Cet  ouvrage  curieux  doit  etre  une  edition  tres  aug- 
mentee  de  "II  specchio  di  pensieri"  publie  a  Venise  en  1540.  II  est  orne 
d'un  titre  grave,  sur  lequel  on  remarque  quatre  figures  sur  bois.  La  pre- 
miere represente  un  gentilhomme  faisant  1 'achat  d'une  broderie;  la  sec- 
onde  une  ouvriere  travaillant  le  tissu  a  broder  sur  un  metier  de  basse  lisse ; 
la  troisieme  des  ouvrieres  occupees  a  broder  au  crochet,  la  quatrieme 
une  marchande  en  inspection  chez  ses  ouvrieres.  Ces  figures  nous  f  ournis- 
sent  des  renseignements  curieux  sur  l'industrie  de  la  broderie  a  cette 
epoque.  Le  volume  contient  en  outre  23  fT.  imprimes  ou  se  trouvent  des 
modeles  de  dessins  de  guipures  et  de  points  coupes  du  plus  beau  style 
Italien.  Cette  edition  comprend  done  en  tout  24  IT.  Elle  est  de  la  plus 
grande  rarete,  car  ni  Brunet,  ni  ses  continuateurs  n'en  font  mention. 
Vente  Bancel,  1882. 

1357 —  Pagan,  M. — Opera  nova  composta  per  D.  da  S.  detto  il  Franciosino; 
dove  si  insegna  a  tutte  le  nobili  et  leggiadre  giovanette  di  lavorare  di  puti  : 
Cusire;  Eecamare,  et  far  tutte  qlle  belle  opere,  etc.  Venegia,  M.  Pagan, 
1546.     Facsimile  reprint,  Ongania,  Venezia,  1879.  S.  K.  M.  Metro.  Mus. 

1358 —  Pagan,  Matthio — Ornamento  delle  belle  &  virtuose  Donne,  opera  nvova 
nella  quale  trouerai  varie  sorti  di  frisi,  con  li  quali  si  potra  ornar  cias- 
cuna  donna  &  ogni  letto  con  ponti  tagliati,  ponti  gropposi,  &  ogni  altra 
sorte  di  ponti,  per  far  tutte  quelle  bella  opera  che  si  appartengono  alle 
virtuose  &  Lodenoli  Fanciulle.  In  Venetia,  MDXLIIII.  Petit  in-4°.  Ce 
titre  est  inscrit  dans  un  motif  grave  sur  bois,  et  le  meme  qui  est  decrit  ci- 
dessus.  Verso,  une  dedicace:  Alle  virtuosiss.  Sorella  et  nobiliss. 
Gentildonne  di  Candia.  Petronilla  et  Catarina  d'armer,  Mattio  Pagano 
Salute.  Madonne,  Mattio  Pagan.  Au-dessous  de  cette  piece  de  vers: 
Stampato  in  Venetia  per  Mattio  Pagan.    In  Frezeria  in  le  casa  nuova,  il 


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qual  tien  per  insegna,  La  Fede.  En  tout  24  feuillets,  contenant  un  titre 
et  quarante-cinq  planches  de  broderies  imprimees  an  recto  et  an  verso.  An 
verso  d'une  page,  nne  piece  de  vers  commencant  par  les  mots :  Alle  Belle 
et  Virtnose.    Bibliotheque  Nationale. 

1359 —  Pagan,  Mathio — Ornamento  delle  belle  et  virtnose  donne,  Opera  nvova 
nella  qnale  tronerai  varie  sorte  di  frisi  con  liqnali  si  potra  ornar  ciascuna 
donna  et  ogni  lettra  con  ponti  tagliati,  ponti  gropposi,  e  ogn'altra  sorte 
diponti  per  far  tutte  le  belle  ope  re  che  si  appertengono  alle  virtnose  et 
Lodenoli  Fanciulle.  Petit  in-4°.  In  Venetia  per  Mathio  Pagano,  in  Frez- 
zaria,  all',  insegna  della  Fede,  1554.  Titre,  preface,  45  planches  et  nne 
ponr  la  sonscription.    Catalogue  Tross,  1867. 

1360 —  Pagan,  Mathio — II  specchio  di  pensiere  delle  belle  et  Virtndiose  donne, 
dove  si  Vede  varie  sorti  di  ponti,  cioe  Ponti  tagliati,  ponti  groposi,  ponti 
in  Eede,  a  ponti  in  stiora,  MDXLIIII  (1544).  Stampato  in  Venetia  per 
Mathio  Pagan.  In  Frazaria  in  le  case  none  qual  tien  per  insegna:  la 
Fede.  Ce  titre  est  inscrit  snr  une  draperie  flottante,  fixee  en  hant  par 
trois  clous,  et  encadree  dans  deux  bandes  rectangnlaires  horizontal.es  et 
deux  bandes  rectangulaires  verticales.  Dans  la  bande  horizontale  supe- 
rieure  on  remarque  an  milieu,  deux  mains  se  tenant  serrees  Tune  1 'autre  et 
surmontees  dn  mot  Fede.  Dans  la  bande  horizontale  dn  bas  on  voit  nne 
femme  assise  de  trois  quart  a  droite,  accoudee  snr  un  vase  et  tenant  d'nne 
main  un  calice  surmonte  d'nne  ho s tie,  de  1'autre  une  croix  appnyee  sur 
son  epaule.  Les  deux  bandes  ver tides  renferment  des  modeles  de  bro- 
deries an  point  compte.  Page  non  cotee,  verso.  A  droite  de  ce  verso  un 
vase.  A  gauche  une  femme  posant  une  couronne  sur  la  tete  d'un  jenne 
homme  agenonille,  les  mains  jointes.  Page  non  cotee,  verso,  deux  mains 
jointes  Tune  dans  Pautre  dans  le  bas  de  la  broderie.  Page  non  cotee. 
Une  sirene  au  bas  d'une  broderie.  Verso,  an  bas  des  broderies  a  gauche 
une  femme,  a  droite  un  page,  tous  les  deux  tenant  une  fleur  gigantesque. 
Page  non  cotee,  verso.  Une  femme  personnifiant  la  foi,  agenouillee  de 
profit  a  gauche  an  pied  d'une  croix.  Elle  a  une  main  posee  sur  sa  poitrine, 
de  l'autre  elle  eleve  en  Pair,  au-dessus  de  sa  tete  un  calice.  Dans  le  fond 
et  se  detachant  sur  le  ciel,  le  mot  Fede.  En  resume  16  feuillets,  dont  un 
titre,  et  29  planches  de  broderies.    Bibliotheque  Nationale. 

1361 —  Pagan,  MatthiO' — II  specchio  di  pensieri  delle  belle  et  virtudiose  donne 
dove  si  vede  varie  sorti  di  ponti,  cive  Ponti  tagliati,  punti  gropposi,  ponti 
in  Rede,  et  ponti  in  stiora,  MDXLVIII  (1548).  Stampato  in  Venetia  per 
Mathio  Pagan,  in  Frezzaria,  in  le  case  nuove  qual  tien  per  insegna,  la 
Fede.  In-4°.  16  feuillets.  Mentionne  dans  la  bibliographie  dn  marquis 
d'Adda.    Rome,  Bib.  Prince  Massimo. 

1362 —  Pagan,  M. — II,  Spechio  di  Pensieri  della  Belle  et  Virtudiose  Donne,  dove 
si  vede  varie  sorti  de  Ponte,  cioe  Ponti  Taliati,  Ponti  Groposi,  Ponti  in 
Rede  e  Ponti  in  Stiora.  Venet.  M.  Pagan.  1550.  4°.  Cuts.  16  leaves. 
Vente  Pirovano,  Rome,  1901. 

1363 —  Paganino,  Alex. — Burato,  con  nova  maestria  gratiose  donne. 

Novo  artificio  vi  apprto.    Accio  che  voi  piu 
Accommodatamente  possiati  mostrare  quanto  valglia. 


BIBLIOGRAPHY 


337 


Lo  ingegno  vostro  ne  lavori,  e  ornamenti  de  camise  et 
Aletri  rechami  questo  sie  che  da  questo  artificio 
Potreti  sempre  cavare  con  la  penna  tute  quante 
Quelle  cose  come  figure  fiori;  et  altri  omamati  che 
Voi  voretti  cavare.  Avertedovi  che  quelle  tele  piu 
Large  serve  a  cauare  ponti  scritti.    Opera  certamente 
Non  esser  stata  piu  in  luce  et  che  a  voi  sera  di 
Grandissima  facilitta  a  i  vostri  lauori  piu  che  alcuna 
Altra  che  per  sin  aqui  sia  fatta  come  voi  medesimi 
Vedretti  operandola. 
Petit  in-4°.  Au-dessous  de  ce  titre  une  gravure  sur  bois  d'un  faire  assez 
grossier  entouree  d'un  trait  car  re  et  d'un  filet.   On  voit  quatre  femmes 
dans  une  chambre,  occupees  a  differents  travaux.  Au  fond,  une  d'elles  est 
derriere  un  metier  a  haute  lisse,  une  autre  a  gauche  au  premier  plan  tra- 
vaille  a  un  petit  metier  a  rubans  place  devant  elle  sur  une  table.   Une  troi- 
sieme  a  droite  au  premier  plan,  de  profil  a  gauche,  est  en  train  de  coudre 
une  etoffe  posee  sur  ses  genoux.    33  planches,  quelques  unes  portant  seu- 
lement  un  quadrillage  destine  a  etre  rempli,  d'autres  avec  quelques  figures 
tracees.    P.  Alex.  Pag.  Benacenses.   F.  Bena.  V.  V.    (Toscolano.  Alex. 
Paganini,  vers  1525.)    Vente  Benedetto  Maglione,  Paris.    1894.  Vente 
Pirovano,  Eome,  1901.    Foulc  Sale,  Paris,  June,  1914,  No.  457. 

1364 —  Paganino,  Alex. — Burato  .  .  .  questi  sono  quattro  fogli,  con  mostre,  di 
tela  chiara,  a  quadretti,  per  fare  opera  di  punto  in  varie  larghezze  ove 
marcata  gradamente  1 'opera  piu  o  meno  fitta  .  .  .  P.  Alex.  Pag. 
(Paganinus.)  Benaccensis  F.  Bena.  V.  V.  Sans  date.  Catalogue  Cicog- 
nara. 

1364a — Paganino,  Alex. — II  Burato — Libro  di  ricami.  Eeproduced  under  direc- 
tion of  Elisa  Eicci.  Bergamo. 

1365 —  Paganino,  Allesandro — Libro  primo  di  rechami  p.  elquale  se  impara  in 
diuersi  modi  l'ordine  e  il  modo  de  recamare  cosa  non  mai  piu  fatta  ne 
stata  mostrata,  el  qual  modo  se  insegna  al  lettore  soltando  la  carta.  Opera 
noua.  Ce  titre  est  circonscrit  par  une  composition  ou  Ton  voit  en  haut 
un  entablement  demi-circulaire  posant  sur  deux  colonnes,  surmontees  cha- 
cune  d'une  petite  figure  de  femme,  brodant  a  1 'aiguille.  Au  milieu  un 
homme  travaillant  a  un  petit  metier  qu'il  tient  des  deux  mains  appuye 
sur  son  genou.  En  bas  de  la  composition  et  au-dessous  du  titre,  deux  fem- 
mes travaillant  l'une  a,  droite  a  un  metier  de  basse  lisse,  1 'autre  a  gauche 
a  un  petit  metier  a  rubans  pose  devant  elle  sur  une  table.  Elle  est  assise 
sur  une  chaise  de  trois  quart  a  droite.  Dans  les  medaillons  ronds  qu'on 
voit  au  milieu  des  colonnes,  deux  tetes  a  la  Eomaine  se  faisant  face. 
Dedicace :  Allessandro  Paganino  al  lettore.  Suite  de  la  dedicace. 
Verso,  fin  de  la  dedicace.  Dans  le  bas  de  ce  verso,  quatre  femmes, 
chacune  dans  un  compartiment  forme  par  une  arcade  et  travaillant  a 
des  travaux  d 'aiguille.  En  haut  a  gauche,  c'est  une  femme  assise  a  un 
metier,  une  chandelle  a  ses  pieds.  A  droite  une  femme  travaillant  a  un 
metier,  pose  debout  devant  elle.  En  bas  a  gauche  une  femme  pongant 
un  modele.    A  droite  une  femme  decalquant  un  dessin.   Page  non  cotee. 


338 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


— Au  verso  on  lit:  P.  Alex.  Pag.  Benacenses.  F.  Bena,  V.V.  Vente  Piro- 
vano,  Boma,  1901,  catalogue  n°  384.    Bibliotheque  Nationale. 

1366 —  See  1365 — Libro  secondo  di  rechami  p.  el  quale  se  impara  in  diuersi  modi 
ordine  e  il  modo  de  recamare  cosa  non  mai  piu  fatta  ne  satta  mostrata, 
el  qual  modo  se  insegna  al  lettore  voltando  la  carta.  Opera  Noua.  Meme 
titre,  meme  gravure  Frontispice  que  ci-dessus.  Verso,  meme  dedicace. 
Aij,  verso  meme  gravure  sur  bois.  Page  non  cotee.  Au  verso  de  cette 
derniere  page  on  lit:  P.  Alex.  Pag.  Benaeensis.  F.  Bena,  V.  V. 

1367 —  See  1365 — Libro  terzo  de  rechami  ...  &  Nous  savons  que  cette  troi- 
sieme  partie  existe,  mais  ne  Pay  ant  jamais  vue  nous  ne  Pindiquons  ici 
que  pour  memoir e.  j   ;  ,  1 

1368 —  See  1365 — Libro  quarto  de  rechami,  p.  elquale  se  impara  in  diversi  modi 
Pordine  e  il  modo  de  recamare  cosa  non  mai  piu  fatta  ne  stata  mostrata, 
el  qual  modo  se  insegna  al  lettore  vol  tando  la  carta.  Opera  noua.  In-4°. 
Meme  description  que  le  n°  ci-dessus  decrit.  Un  cahier  de  20  feuillets 
avec  signature.  AAAAI,  AAAAX,  meme  titre,  meme  lettre  de  Paganino, 
et  meme  figure  au  verso  du  2°  feuillet  que  pour  le  Livre  Primo.  Suivent 
imprimes  au  recto  des  feuillets,  18  superbes  modeles  de  travaux  a  Pai- 
guille  graves  en  bois  d'un  genre  absolument  different  de  ceux  qui  se  trou- 
vent  dans  le  Libro  Primo.  A  la  fin :  P.  Alex.  Pag.  Benacenses.  F.  Bena. 
V.  V.  s.  d.  Vente  Pirovano,  Eoma.  1901.  Foulc  Sale,  June,  1914,  Paris, 
No.  457. 

1369 —  Paganino,  A. — Libro  Primo.  De  rechami  p  elquale  se  impara  in  diversi 
modi  lordine  e  il  modo  de  recamare,  cosa  no  mai  piu  fatta  ne  stata  mos- 
trata, el  qual  modo  se  insegna  al  lettore  voltando  la  carta.  Opera  noua. 
[On  last  page]  P.  Alex.  Pag.  Benacenses.  F.  Bena,  V.  V.  4°.  2  pp., 
31  leaves  of  cuts.     (1527.)    (Ongania  reproductions.)    S.  K.  M. 

1370 —  Paganino,  A. — Libro  Secondo  .  .  .  Burato.  4°.  Title  and  20  leaves 
of  cuts.    (1527.)    (Ongania  reproduction.)   See  1366. 

1371 —  Paganino,  A — Burato — Libro  Terzo.  4°.  Title  and  20  leaves  of  cuts. 
(1527.)    (Ongania  reproduction.)    See  1367. 

1372 —  Paganino,  A. — Burato — Libro  Quarto.  4°.  Title  and  20  leaves  of  cuts. 
(1527.)    (Ongania  reproduction.)    See  1368. 

1373 —  Paganino,  Alex. — Liber  Primo  de  rechami  per  el  quale  se  impara  in  di- 
versi modi  Pordine  e  il  modo  de  recamare,  etc.  28  plates.  Facsimile  of 
the  original  of  15 — I.    3  vols,  in  1,  royal  8vo. 

1374 —  Paganino,  A. — Libro  questo  di  rechami  per  el  quale  se  impara  in  diversi 
modi  Pordine  e  il  modo  de  recamare,  cosa  non  mai  piu  fatta  n'e  stata 
mostrata.  By  Alessandro  Paganino.  20  plates,  with  a  long  explanation 
how  these  works  are  done.  Eome,  Bib.  Prince  Massimo. 

1375 —  Pages,  L. — Les  Ecoles  de  dentelle.  Le  Cours  de  dessin  de  la  Chambre 
Syndicale.  La  Dentelle,  April,  1905,  Paris. 

1376 —  Pages,  L. — Les  grandes  ecoles  de  dessin.  (Album  de  la  Dentelle.  Ex- 
position, Liege,  1905.)  Numero  special  de  La  Dentelle,  April-September- 
October,  1905,  Paris. 

1377 —  Pairault,  Mme.  Veuve  et  fils — Facsimiles  and  reproductions  of  old  pattern 
books. 


B1BLI0  GRAPH  Y 


339 


1378 —  Paleografia  artistica  nei  codici  cassinesi  applicata  ai  lavori  industriali,  La 
— Merletti  dalla  Tav.   1  alia  Tav.  20.    Montecassino,  1888-1896. 

1379—  Palliser,  Mrs.  Bury — A  descriptive  catalogue  of  the  lace  and  embroidery 
in  the  South  Kensington  Museum,  with  illustrations.  London,  1871,  8vo. 

1380 —  Palliser,  Mrs.  Bury — A  descriptive  Catalogue  of  the  Lace  in  the  South 
Kensington    Museum.     London,  1873.    14  plates,  73  pages.    2  edit. 

1381 —  Palliser,  Mrs.  Bury — Descriptive  Catalogue  of  Lace  in  the  South  Kens- 
ington Museum.  3d  edition,  revised  and  enlarged  by  A.  S.  Cole,  London, 
1881,  G.  E.  Eyre  &  W.  S.  Spottiswoode,  21  plates,  144  pages.   B.  M. 

1382 —  Palliser,  Mrs.  Bury — Guide  to  the  ancient  and  modern  Lace  in  the  Inter- 
national Exhibition.    London,  1874. 

1383 —  Palliser,  Mrs.  Bury — Histoire  de  la  Dentelle.  Traduit  par  Gedeon  de 
Clermont-Tonnere.    Paris,  1892.    16  plates  in  color,  161  wood  engravings. 

1384—  Palliser,  Mrs.  Bury— History  of  Lace.  All  the  Year,  V.  36,  pp.  249,  294, 
350. 

1385 —  Palliser,  Mrs.  F.  Bury — History  of  Lace.    Eclectic  Magazine,  V.  65,  p.  326. 

1386 —  Palliser,  Mrs.  F.  Bury — History  of  Lace.  Every  Saturday,  V.  6,  p.  201. 

1387 —  Palliser,  Mrs.  F.  Bury— History  of  Lace.  Living  Age,  V.  98,  p.  535. 

1388—  Palliser,  Mrs.  F.  Bury— History  of  Lace.   Quarterly,  125 :166. 

1389 —  Palliser,  Mrs.  Bury — History  of  Lace.  London,  C.  Low,  Son  &  Marston, 
1865.  460  pages,  17  plates,  1  port. 

1390 —  Palliser,  Mrs.  F.  Bury  (Fanny  Marryat) — A  History  of  Lace.  London, 
Sampson,  Low,  Son  &  Marston,  1869.   422  pages,  17  plates,  2nd  edition, 

1391 —  Palliser,  Mrs.  F.  Bury— A  History  of  Lace.   3d  edition,  London,  1875. 

1392 —  Palliser,  Mrs.  F.  Bury — A  History  of  Lace,  entirely  revised — by  M.  J our- 
dain  and  Alica  Dryden.   London,  Sampson  Low,  1902.    B.  M. 

1393 —  Palliser,  Mrs.  Bury — Lace.  The  Magazine  of  Art,  November,  1878,  Lon- 
don, V.  1,  p.  179. 

1394 —  Palliser,  Mrs.  F.  Bury — Lace.    Quarterly  Review,  July,  1868. 

1395 —  Palliser,  Mrs.  F.  Bury — Notes  on  the  History  of  Lace,  to  which  is  added 
a  Catalogue  of  Specimens  of  Lace  Selected  from  the  Museum  at  South 
Kensington,  etc.    London,  1872,  8vo. 

1396 —  Palliser,  Mrs.  Bury — Report  on  Lace,  Net,  Embroidery  and  Smallware 
Manufactures,  Class  33.  (Paris,  Univ.  Exhibit.,  1867.)  Vol.  3,  p.  109. 
7  vols.,  8vo.  London,  1868-69. 

1397 —  Palliser,  Mrs.  F.  Bury — Reports  of  the  U.  S.  Commissioners,  Lace,  Net, 
Embroidery  and  Trimmings,  Vol.  3,  p.  109,  6  vols.,  8vo,  Washington,  1870. 
S.  K.  M. 

1398 —  -Parasole,  Elisabetta  Catanea — Fior  d'ogni  Virtv  per  le  nobile  et  honeste 
matrone,  doue  si  verdono  bellissimi  lauori  di  ponto  in  aria,  reticella,  di 
maglia  et  a  piombini  dissagnati,  da  Isabetta  Catanea  Parasole.  In 
Roma  apresso  Antonio  Fachetti.  MDCX  (1610).  Con  Licenza  de  su- 
periori.  In-4°  oblong.  Au-dessus  de  Padresse  de  l'editeur  les  armes 
d'Espagne,  surmontees  d'une  couronne.  Autour  de  1'ecusson  qui  conti- 
ent  ces  armes,  22  petits  drapeaux  piques  dans  cet  ecusson,  11  de  chaque 
cote.  Rien  au  verso.  Les  pages  sont  numerotees  en  haut  a  droite  en  chifT- 
res  arabes,  et  il  y  a  l'explication  de  chaque  dessin.    2  Dedicace:  Alia  se- 


MO  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

renissima  Princepessa  Donna  Elisabetta  Borbona  d 'Austria,  Principessa 
Spagna,  14  lignes  se  terminant  par  les  mots:  Di  Eoma  a  di  5  di  marzo 
1610.  Elisabetta.  Catanea  Paras  ole.  Puis  les  broderies.  Au-dessous  les 
memos  armes  que  sur  le  titre  et  au-dessous :  Stampato  in  Eoma  appresso 
Antonio  Fachetti  MDCX.  37  tres  beaux  modeles  de  dentelles  et  de  bro- 
deries, coins  de  mouchoirs  et  autres  objets  de  lingerie.  Vente  Destail- 
leurs,  1895. 

1399 —  Parasole,  Isabella  C. — Modeles  de  dentelles  et  de  broderie.  Sans  lieu  ni 
date.  In-4°  oblong,  cartonne.  31  planches  (B-H  par  4,  I  par  3).  Ces 
planches  font  sans  doute  partie  d'un  ouvrage  publies  par  Isabella  C.  Para- 
sole.   Foulc  Sale,  Paris,  June,  1914,  No.  461,  frs.  180. 

1400 —  Parasole,  Isabetta  Catanea — Pretioso  Gemma  Delle  Virtuose  Donne  Doue 
si  vedono  bellissimi  lauori  di  punto  in  aria,  reticella,  di  maglia,  e  piombini, 
disegnati  da  Isabella  Catanea  Parasole.  E.  di  nuouo  dati  in  lu^ce  Via 
Lucchino  Gargano,  con  alcuni  altri  bellissimi  lauori  nuouamente  inuentati. 
Stampata  in  Venetia,  Ad  instantia  di  Lucchino  Gargano.  M.  D.  C.  Con 
Licenza  de'  Superiori.    4°.    Title,  dedication,  18  leaves  of  cuts. 

1401 —  Parasole,  Isabelle  Catanea — Pretiosa  gemma  delle  virtuose  dame.  Done 
si  vedono  bellissimi  lauori  di  punto  in  aria,  reticella,  di  maglia  e  piom- 
bini, desegnati  da  I.  C.  Parasole.  E  di  nuovo  dati  in  luce  de  Lucchino 
Gargano,  1618,  con  alcunti  altri  bellesimi  lauori  monamente  inuentati. 
Venice,  L.  Gargano,  1600.  Reprinted  in  Venice,  1879.  S.  K.  M.  Metro. 
Mus. 

1402 —  Parasole,  Isabella  Catanea — Secondo  Libro  della  Pretiosa  Gemma  Delle 
Virtuose  Donne.  Doue  con  nuoua  inuentione  si  vedone  bellissimi  Lauori 
di  varie  sorti  di  Merli  grandi,  e  piccioli,  punti  in  aria,  punti  tagliati,  punti 
a  reticello,  e  Rosetti  diuersi,  che  con  l'aco  si  vsano  hoggidi  per  tutta 
Europa.  Nouamenta  dato  in  luce  da  Lucchino  Gargano.  Stampata  in 
Venetia,  Ad  instantia  di  Lucchino  Gargano,  MDCL  4°.  Title,  dedica- 
tion, 17  leaves  of  cuts.    (Ongania  reproduction.) 

1403 —  Parasole,  I.  C. — Gemma  pretiosa  delle  virtuose  donne,  dore  si  vedono 
bellisimi  lavori  de  Ponti  in  Aria,  Reticella,  di  Maglia,  e  Piombini  diseg- 
natida  Isabella  Catanea  Parasole.  In  Rome,  appreso  Guliegno  Facciotti, 
1625.  4°.   Title  and  34  cuts.   B.  K.  M. 

1404 —  Parasole,  Isabella  Catanea — Specchio  delle  virtuose  done.  Venice,  1594 
and  Rome,  1595. 

1405 —  Parasole,  Isabella  Catanea — Specchio  delle  virtuose  donne.  Done  si  ve- 
dono bellissimi  lavori  di  punto  in  aria,  reticella,  di  maglia  e  piombini, 
designati  da  Isabella  Catanea  Parasole.  Roma,  appresso  Antonio  Fac- 
chetti,  1598.  In-4°  oblong,  1  feuillet  de  titre,  30  feuillets  de  modeles. 
Vente  Foulc. 

1406 —  Parasole,  E.  C. — Specchio  delle  virtuose  donne.  Dove  si  vedono  bellis- 
simi lavori.  di  ponto  in  aria,  reticella,  di  maglia  et  piombini.  Disegnati 
da  Isabetta  Catanea  Parasole.  Roma,  appresso  Antonio  Facchetti,  1598. 
One  volume  in-4°,  oblong  cartonne.  Un  feuillet  de  titre,  un  feuillet  blanc 
et  38  feuillets  chifTres  contenent  autant  de  modeles  de  dentelles,  broderies, 
coins  de  mouchoirs,  etc.   Foulc  Sale,  Paris,  June,  1914,  No.  459,  Frs.  500. 


BIBLIOGRAPHY 


341 


1407 —  Parasole,  Isabella  Catanea — Studio,  Delle  Virtuose,  Dame,  Doue  si  ve- 
dono  bellifsimi  lauori  di  punto  in  aria  reticella,  di  maglia.  Diffeganti  da 
Ifabetta  Catanea  Parafole.  In  Roma,  Appreffo  Antonio  Faeehetti. 
M.D.XCVII.  Con  Licenza  De'  Superiori.  4°.  36  leaves  consisting  of  title 
page,  2  dedications  (In  Spanish  and  Italian)  To  Dona  Joana  de  Aragon  y 
Cordona,  whose  coat  of  arms  is  on  the  title  page.  33  plates  This  is  the 
only  copy  known  of  the  original  edition.  Stranges  Trans.  Bib.  Soc. 
VII.  254-257.   Metro.  Mus. 

1408 —  Parasole,  Isabella  Catanea — Studio  delle  virtuose  dame;  Roma,  Antonio 
Fachetti,  1597.  Quariteh's  reprints  of  rare  books,  II.  London,  1884. 
obi.  12°. 

1409 —  Parasole,  Isabetta  Catanea — Studio  delle  Virtuose  Dame.  Doue  si  vedo- 
no  bellissimi  lauori  di  punto  in  aria,  reticella,  di  maglia.  Dissegnati  da 
Isabetta  Catanea  Parasole.  In  Roma,  Appresso,  Antonio  Faeehetti. 
M.D.XCVII,  Con  Licenza  de'  Superiori.  4°.  Title,  2  dedications  (in 
Spanish  and  Italian).   33  ff.   S.  K.  M. 

1410 —  Parasole,  E.  C. — Theatro  delle  nobile  et  Virtuose  donne,  dove  si  rap- 
presentano  Varij  Disegni  di  Lauori  nouamente  Inventati  et  disegnati  da 
Elisabetta  Catanea  Parasole  Romana.  Ce  titre  est  ornemente  de  la  meme 
facon  que  celui  de  1 'edition  de  1616.  La  seule  difference  est  dans  la  date 
de  la  signature  1636  au  lieu  de  1616  et  dans  la  dedicace  au  recto  de  la 
page  suivante :  Al  magninco  Giovanni  Orlandi  da  Giacomo  Marcucci,  au 
lieu  de:  Alia  Serenissima  Principessa  donna,  &  &.  Ce  titre  est  inscrit 
dans  une  tablette  entouree  de  rinceaux,  et  au-dessus  d'un  socle  en  magon- 
nerie  au  milieu  duquel  on  voit  en  bas  dans  un  cartouche  ovale,  un  buste 
de  femme,  ayant  autour  du  cou  une  vaste  fraise  goudronnee.  En  haut  au- 
dessus  du  titre  au  milieu,  un  ecus  son  armoirie.  Cet  ecusson  est  dans  un 
cartouche,  sur  lequel  deux  femme s  sonnant  de  la  trompette  ont  une  main 
posee.  De  petitis  genies,  tenant  Pun  compas,  1 'autre  une  regie,  une  plume 
et  un  encrier  agrementeni  cettfe  composition  gravee  sur  cuivre.  En  bas 
sur  un  rebord  du  socle  qui  supporte  ce  dessin,  on  lit  a  gauche:  In  Roma 
Panno  1616,  con  Licentia  de  superiori. 

1411 —  Parasole,  E.  C. — Teatro  delle  nobili  et  virtuose  donne,  dove  si  rappresen- 
tano  varij  disegni  di  lavori  nova  men  te  inventati  et  disegnati  da  Elisabet- 
ta Catanea  Parasole  Romana.  In-4°  oblong.  Dedicace:  Alia  serenis- 
sima Principessa  Donna  Elisabetta  Borbona  d'avstria,  Principessa  di 
Spagna  .  .  .  et  finissant  par  les  mots:  Di  Roma  a  di  5.  di  Marzo, 
1616.  Other  editions,  1620,  1625  and  1636.  The  last  is  dedicated  to  the 
Grand  Duchess  of  Tuscany,  and  has  the  Medici  and  Delia  Rovere  arms  in 
the  title-page.  Obi.  4to,  47  ff.,  46  plates,  beautifully  executed,  the  titles 
printed  to  each  plate,  as  "  Lavori  di  punti  in  aria,  Merletti  di  ponti  reti- 
cella, Merletti  a  piombini,"  etc.  Chacune  des  broderies  imprimees  seule- 
ment  au  recto  des  pages,  porte  en  haut  1 'indication  du  genre  de  travail 
qu'elle  represente.  Apres  la  planche  50,  une  page  non  cotee.  C'est  une 
grande  planche  repliee  en  trois,  dite :  Le  grand  mouchoir.  Vente  Santa- 
relli.    Vente  Benedetto  Maglione  Paris,  1894.    Une  edition  de  1619,  vente 


342 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


Piot,  1891.  Florence,  Bib.  Prof.  SantereUi.  Milan,  Bibliotheque  de 
PAmbroisienne.   Borne,  Bibliotheque  de  Prince  Massimo. 

1412 —  Parasole,  Isabella  Catanea — Teatro  delle  nobili  et  virtuose  dame  dove  si 
rappresentano  varij  desegni  di  lauori  honamente  inventati  et  disegnati  da 
I.  C.  Parasole.    Boma,  1616.    Beprinted  in  Venice,  1891,  by  Ongania. 

1413 —  Parasole,  E.  C. — Theatro  delle  nobili  et  virtuose  donne  dovi  si  rappresen- 
tano Varij  disegni  di  Lauori  nouamente  inventati  et  disegnati  da  Elisa- 
betta  Catanea  Parasole  Bomana.  In  Boma  Panno  1620.  In-4°  oblong. 
Frontispice  grave  au  burin  avec  les  armes  de  Medicis  et  de  la  Bovere 
plusieurs  fois  repetes  dans  un  cartouche  avec  des  amours  dans  les  poses 
les  plus  charmantes  et  d'un  si  beau  style  que  nous  inclinons  fort  a  croire 
qu'il  fut  execute  au  siecle  precedent  pour  un  tout  autre  ouvrage.  On  y 
trouve  la  devise :  Nisi  canant  qui  fortia  quid  isti  gerunt.  In  Boma  Panno 
1620.  Mauritio  Bona  in  Piazza  Navona.  49  feuillets  dont  deux  pour  le 
titre  et  la  dedicace.  La  grande  planche  de  la  fin,  repliee  en  trois  est  un 
vrai  chef-d'oeuvre  de  xylographie.  Les  planches  sont  au  nombre  de  45, 
imprimees  au  recto  seulement.  Foulc  collection  accounted  for  only  40 
plates,  June,  1914.    Paris,  No.  460,  frs.  600. 

1414 —  Paris — Souvenir  de  PExposition  de  1839.  Par  J.  Dumas.  Fol.  Paris, 
n.  d.    S.  K.  M. 

1415 —  Paris  Exhibition,  1855 — Beports.  French.  Beports  du  Jury  mixte  inter- 
national.   (Dentelles,  Vol.  2,  p.  1100.)  2  vols.  8vo.  Paris,  1856.  S.  K.  M. 

1416 —  Paris  Exhibition,  1867 — Beports.    French,  Dentelles,  Tulles,  Broderies 
et  Passementeries.    Vol.  IV.,  p.  231.  13  vols.  8vo.  Paris,  1868.    S.  K.  M. 

1417 —  Paris  Exhibitions,  1878 — Bapports  des  Membres  des  Jurys,  etc.  (Belgian) 
sur  PExposition  universelle  de  Paris  en  1878.  (Dentelles  et  Broderies, 
vol.  III.,  p.  491.)    5  vols.  8vo.    Bruxelles,  1879-80.    S.  K.  M. 

1418 —  Parkes,  Kineton — Occupations  for  Gentlewomen.  I.  Lace  Work  and  Em- 
broidery.  Atalanta,  November,  1894,  London. 

1419 —  Parsons,  E. — Outwork  or  Benaissance  Embroidery.  Woman's  Home  Com- 
panion.   V.  31,  p.  22,  March,  1904. 

1420 —  Pasini,  T. — Fiori  di  ricami  nuovamente  posti  in  luce  ne  i  quali  sono  varii, 
et  diversi  dissegni  di  lavori ;  Come  Merli,  Bauari,  Manichetti,  &  altre  sorti 
di  opere,  che  al  presente  sono  in  uso,  utilissimi  al  ogni  stato  di  Donne. 
Seconda  Impressione.  Obi.  8vo,  20  ff.,  18  plates  like  Vecellio,  one  "ba- 
varo."  Mostly  indented  patterns  on  black  grounds.  Bologna,  1596.  Bib. 
de  V Arsenal. 

1421 —  Passerotti,  A. — Passerotti  Aurelio  Pittore  Bolognese  dissegnatore  e  minia- 
tore  figlio  di  Bartolommeo  Passerotti  circa  al  1560.  Libro  Primo  di  lavo- 
rieri  alle  molto  illustre  et  virtuosi ssime  gentildonne  Bolognesi.  Libro  se- 
condo  alle  molto  magnifici  et  virtuosissimi  signori  Bologne,  n.d.  In  fol. 
obi.  67  ff\,  including  two  dedications  and  a  frontispiece.  Designs  for 
embroidery,  etc.,  drawn  with  a  pen.  In  the  title-page  of  the  first  book  is 
the  device  of  a  sunflower,  "Non  san  questi  occhi  volgere  altrove."  Cata- 
logue Cicognara. 

1422 —  Passerotti,  Aurelio. — Libro  di  Lavorieri  Alia  Serenissima  sig-ra  Mar- 
garita Gronzaga  da  Este  Duchessa  di  Ferrara,  Patrona  Colendissima.  In 


BIBLIOGRAPHY 


343 


Bologna.  Appresso  Faust o  Bonardi,  Con  licenza  de'  Superiori.  M.D.XCL 
4°.    Dedication  dated  "17  Agosto  1591,"  signed  "A.  P."    Cuts  (with 
several  shields  of  arms).    B.  K.  M. 
1423 — Patching,  John  F. — Lace  in  Interior  Decoration.    Illus.    Good  Furniture 
Mag.    Grand  Eapids,  1918.    V.  10,  p.  307-316. 

1425 —  Patterns  of  cutworkes — Here  followeth  certaine  patternes  of  Cutworkes; 
and  but  once  printed  before.  Also  sundry  sorts  of  spots,  as  flowers, 
birds,  and  fishes,  &.  Londres,  1632.  In-4°.  33  patrons  et  le  titre.  Biblio- 
theque  Bodleyenne  d 'Oxford. 

1426—  Pattern  Book.    Published  by  0.  Foelix  in  Cologne,  1527. 

1427 —  Pattern  Book.    Published  by  Wilhelm  Vosterman,  Antwerp,  1542. 

1428 —  Patterns  of  Nottingham  Lace.    March,  1850. 

1429 —  Patterns — Patrons  pour  brodeurs,  lingieres,  massons,  verriers,  et  autres 
gens  d'esperit;  nouvellement  imp  rime,  a  Paris,  rue  Saint- Jacques,  a  la 
Queue-de  Eegnard  M.DLXIIII.  (1564.)  Quoted  by  Willemin.  See  1566, 
1567  and  1568.  i 

1430 —  Pattern  Book — An  extensive  Collection  of  upwards  of  150  Original  Draw- 
ings, mostly  in  pen  and  ink,  of  various  designs,  including  a  few  executed 
in  water-colors,  mounted  on  toned  paper.  From  the  library  of  H.  E.  H. 
The  Duchess  of  Gloucester. 

1431 —  Pattern  Book — A  series  of  about  220  drawings  in  sepia  of  Patterns  of 
Lace,  Embroidery,  etc.,  on  80  leaves.    Circa,  1830. 

1432 —  Patterns  for  Needlework. — Muster  altdeutscher  und  moderner  Stickereien 
Herausgegeben  von  Frau  M.  Beeg-Aufsess,  etc.  30  colored  plates.  Fol. 
Leipzig,  1883.    S.  K.  M. 

1433 —  Pattison,  H. — Crochet  Applique  Lace.  Harper's  Bazaar..  V.  42,  pp.  1231- 
1233,  December,  1908. 

1434 —  Pattison,  H. — Crocheted  Doilies.    Harper's  Bazaar.    V.  45,  p.  129,  March 

1911.  [■:■'  .  ; 

1435 —  Pavot,  T. — Dentelle  du  Havre.   Intermediare  des  Chercheurs,  1896,  Paris. 

1436 —  Peacock,  N. — New  Movement  in  E us sian  Art.  International  Studio.  V. 
13,  p.  268-276,  June,  1901. 

1437 —  Pegg,  Wm.  H.  at  Nottingham — Projet  d'un  eventail  en  dentelle.  Art  ap- 
plique, 2e  annee,  Paris. 

1438 —  Pelegrin,  Francisque — La  fleur  de  la  science  de  Portraicture  Et  patrons 
de  broderie;  facon  arabique  et  Italique.  Cum  privilegio  Eegis.  Ce 
titre  est  inscrit  en  lettres  gothiques  au  haut  de  la  page.  Au-dessous 
une  gravure  sur  bois,  representant  une  femme  presque  nue,  portant  sur  les 
epaules  une  sorte  de  chasuble  transparente  lui  descendant  jusqu'aux 
genoux.  Elle  se  dirige  vers  la  gauche,  retournant  la  tete  de  trois  quart  a 
droite,  cette  tete  couronnee  de  rayons  lumineux.  Elle  tient  de  la  main 
droite  sur  son  epaule  un  joug  et  de  1 'autre  une  banderole  sur  laquelle  on 
lit:  Exitus  acta  Probat.  Ses  cheveux  denoues  flottent  sur  son  dos. 
Ses  pieds  sont  enchames  a  un  gros  boulet  qu'elle  traine  derriere  elle. 
A  gauche  des  tiges  de  plantes  qui  s'elevent  droites  hors  du  sol,  et  sont 
terminees  par  des  fleurettes  a  quatre  petales.  En  suyt  le  priuilege. 
Francoys  par  la  grace  de  Dieu  Eoy  de  France,  au  preuost  et  bailly 


344 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


de  Paris  on  ses  lyeutenans  et  a  tons  noz  autres  justiciers,  salut  et 
dilection.  Recue  avons  1 'humble  supplication  de  nostre  cher  et 
bien  ame  Francisque  pelegrin  de  Florence,  contenant  que  ponr  tousiours 
decor er,  publier,  et  a  coustre  Part  et  science  de  ponrtraictnre.  II  anec 
grant  peine,  et  labenr  fait,  inuente  et  compose  Ung  liure  de  feuillages, 
entrelatz,  et  onnraiges  moresqnes  et  damasqnins,  leql  il  desireroit  voule- 
tiers  faire  imprimer  et  mettre  en  lumiere.  Done  a  Bordeaulx  le  xBii  iour 
de  Jnng.  Par  le  Roy  a  nostre  relation.  Barillon.  Ce  present  linre  a  este 
imprime  a  Paris,  par  Jacques  Nyuerd  le  IX  jour  d'aoust.  L'an  de  grace 
mil  cinq  ces  XXX  pour  noble  home  messire  Francisque  Pelegrin  de  Flor- 
ence. On  les  vend  a  Paris  en  la  grant  rue  Saint  Anthoyne  deuant  les  Tour- 
nelles.  Au  logis  de  Monseigneur  le  Conte  des  Larpes.  Par  messire  Fran- 
cisque Pelegrin  de  Florence.  In-4°.  Soixante-deux  feuillets  cotes  de  2  a 
62  avec  cinquante-neuf  planches  representant  des  moresques.  Le  titre  est 
gothique.  La  date  de  1530  de  ce  volume  est  bien  plus  ancienne  que  celle 
du  Vinciolo,  1587  que  M.  Alvin  nous  donne  pour  le  plus  ancien  livre  de  ce 
genre  imprime  a  Paris.  No  animals  or  natural  objects.  At  plate  33,  sur- 
rounded by  arabesques,  is  an  N,  the  initial  of  the  printer.  Bibliotheque 
de  V Arsenal. 

1439 —  Pellegrin,  Francisque — La  Fleur  de  la  Science  de  Pourtraicture.  Patrons 
de  Broderie.  Facon  arabicque  et  ytalique.  1530.  Reimpression  en  fac- 
simile, avec  introduction  par  Gaston  Migeon,  conservateur  des  objets  d'art 
au  Musee  du  Louvre,  Jean  Schemit,  Paris,  1908,  in  4to,  en  cartonnage  en 
percaline. 

1440 —  Pellegrino — Splendore  della  virtvose  Griovanni  dove  si  contengono  molte  et 
varie  mostre  di  fogliami,  Cioe  punti  in  aere  et  punti  tagliati  bellissime  et 
con  tale  artificio  che  li  punti  tagliati  serueno  alii  punti  in  aere  et  da  qvelle 
che  sopragasi  far  si  possono  medesimamente,  molte  altre.  In  Venegia  ap- 
presso  Iseppo  Foresto  in  calle  dell'acque  a  san  Julian,  All'insegna  del  Pel- 
legrino (1557).  In-4°.  Au-dessous  du  titre  au  milieu,  et  au-dessus  de 
l'adresse  de  Pediteur,  un  neuron  entoure  de  cuirs,  representant  un  pelerin, 
son  baton  sur  l'epaule,  se  dirigeant  dans  la  campagne,  de  gauche  a  droite. 
Autour  du  neuron  on  lit  les  mots :  Non  habemus  hie  civitatem  permanen- 
tem  sed  futuram  inquirimus.  Au  verso  une  dedicace,  Iseppo  Foresto  a  i 
lettori.  Une  lettre  ornee,  un  V  entre  les  branches  duquel  on  apergoit  un 
forgeron  assis  devant  une  enclume  et  frappant  avec  son  marteau.  Cette 
lettre  est  en  tete  de  17  lignes  de  texte  finissant  par  les  mots :  .  .  .  gli  anni 
Nostri  Lunghi  et  felici.  En  resume  16  feuillets,  dont  un  titre  et  29 
planches  de  broderies.    Bibliotheque  Nationale. 

1441 —  Pellegrino — Splendore  delle  virtuose  Giovanni,  dove  si  contangono  molte 
et  varie  mostre  fogliami.  Cioe  punti  in  aere  et  punti  tagliati  bellissimi, 
&  con  tale  artificio  che  li  punti  tagliati  serueno  alii  punti  in  aere,  et  da 
qvelle  che  sopragasi  far  si  possono  medesimamente  molte  altre.  In  Vene- 
tia  per  Iseppo  Foresto  in  calle  dell'acqua  a  san  Zulian,  all'insegna  del  Pel- 
legrino, 1558.    In-4°>  16  feuillets.    Catalogue  Cicognara. 

1442 —  Perry,  W.  C. — Needlework  as  an  Art.  From  the  "National  Review," 
August,  1886.    8vo.  Lend.   1886.    S.  K.  M. 


BIBLIOGRAPHY 


345 


1443 —  Peterborough — Cat.  of  the  tercentenary  of  Mary,  Queen  of  Scots  Exhib., 
1887.    (Lace,  Needlework,  etc.,  p.  23.)  8vo.  Peterborough,  1887.   S.  K.  M. 

1444 —  Peuchet — Dictionnaire  Universel  de  la  Geographie  Commergante.  1789. 

1445 —  Pfnor,  R. — Ornementation  usuelle  de  toutes  les  Epoques  dans  les  Arts 
Industriels  et  en  Architecture.  (Plates  6,  15,  16,  46,  68.)  2  vols.  4to. 
Paris,  1866-67.    S.  K.  M. 

1446 —  Photographs  of  Laces.  1879.  (Collection  of  Kursheedt  Manufacturing 
Co.,  N.  Y.) 

1447 —  Photos,  of  Lace,  Nat'l  Art  Library,  S.  Kensington  Coll'n.  of  Italian  (Vene- 
tian, Genoese,  etc.)  Flemish  (Brussels,  Mechlin,  etc.)  French,  English  and 
Irish  Lace.    Contained  in  portfolios.     No.  428.    S.  K.  M. 

1448 —  Piece  of  Old  Lace,  A. — (Argent an,  XVII  th  century.)  The  Connoisseur, 
March,  1902,  London. 

1449 —  Pillow  Lace-Maker.    Every  Saturday.    V.  10,  p.  325. 

1450 —  Pin-money  Made  with  the  Needle.  Ladies  Home  Journal.  V.  21,  p.  22. 
January,  1904. 

1451 —  Pinson,  Paul — Dentelle  du  Havre.  Intermediare  des  Chercheurs,  1896, 
Paris. 

1452 —  Piot,  C. — Quelques  notes  concernant  des  Brodeurs  Beiges  du  XV  siecle 
et  du  siecle  suivant.  "Bull,  des  Commissions  Roy.  d'art  et  d^rcheol.'' 
Vol.  II,  p.  295.   8vo.    Bruxelles,  1863.    S.  K.  M. 

1453 —  Plantadis,  J. — L'art  de  la  Dentelle  en  France.  Revue  Universelle,  Sep- 
tember, 1904,  Paris. 

1454 —  Politique — Ordonnantie — raekende — de  — koop-lieden — en — Wercksters — 
der — spelle-werck,  Kanten, — binnen  Cortryck.    Courtrai,  (1765). 

1455 —  Pollen,  Mrs.  J.  H. — Ancient  Lace  in  the  Royal  Museums,  Brussels.  Bur- 
lington Magazine,  1912.    V.  21,  pp.  328-334. 

1457 —  Pollen,  Mrs.  J.  H. — Early  Designs  in  Lace-making.  Burlington  Magazine. 
V.  19,  pp.  73-79,  May,  1911. 

1458 —  Pollen,  Mrs.  J.  H. — Seven  Centuries  of  Lace.  London,  W.  Heineman,  1908. 
B.  M. 

1459 —  Pollock,  Elizabeth,  at  Londonderry — Cols  en  dentelles  au  crochet.  Even- 
tail  en  dentelle.    Art  applique,  2e  annee,  Paris. 

1460 —  Polonaise  Lace,  Book  of,  by  the  Silkworm.  (The  Silkworm  Series.)  8  vo. 
Lond.    (1875).    S.  K.  M. 

1461 —  Pompe,  Le — Le  Pompe,  opera  nova  nella  quale  si  ritrovano  varie  &  di- 
verse sorti  di  mostre  per  poter  far  cordelle  ouer  Bindelle  d'oro,  di  seta, 
di  Filo,  ouero  di  altra  cosa  dove  le  belle  et  virtuose  Donne  potranno  fare 
ogni  sorte  di  lauore;  cioe  merli  di  diuerse  sorte,  Cauezzi,  Colari,  Mane- 
ghetti,  &  tutte  quelle  cose  que  li  piaceranno.  Opera  non  men  bella  che 
utile  et  necessaria,  Et  non  piuveduta  in  luce.  In  Venetia,  MDLVII 
(1557).   Catalogue  Cicognara.   Bibliotheque  du  Vatican. 

1462 —  Pompe,  Le — Le  Pompe,  opera  nova  nella  quale  si  ritrovano  varie  &  di- 
verse sorti  di  mostre  per  poter  far  cordella  ouer  Bindelle  d'Oro,  di  seta, 
di  Filo,  ouero  di  altra  cosa  dove  le  belle  et  virtuose  Donne  potranno  fare 
ogni  sorte  di  lauore;  cioe  merli  di  diuerse  sorte,  Cauezzi,  Colari,  Mane- 
ghetti,  &  tutte  quelle  cose  que  li  piaceranno.     Opera  non  men  bella  che 


346 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


utile  et  necessaria,  Et  non  piu  veduta  in  luce.  In  Venetia,  MDLVIII 
(1558).  Petit  in-4°.  Au-dessous  du  titre  une  marque  de  libraire  formee 
par  un  assemblage  de  bouts  de  rubans  enlaces,  sur  lesquels  on  lit  M.  Jesus. 
F.  En  tout  14  pages  dont  un  titre,  en  tout  vingt-six  planches  de  dentelles. 
Bibliotheque  Nationale. 
1463 — Pompe. — Le  Pompe  Opera  Noua  Nellaquale  Si  Ritrouano  Varie  &  diuerse 
sorti  di  mostre,  per  poter  jar  Cordelle,  ouer  Bindelle,  d'Ore,  di  Sera,  di 
Filo,  ouero  di  altra  cosa.  Doue  le  belle  &  virtuose  Donne  potranno  fare 
ogni  sorti  di  lauoro,  cioe  Merli  de  diuerse  sorte,  Cauezzi,  Collari,  Mane- 
ghetti,  &  tutte  quelle  cose  che  li  piaceranno.  Opera  non  men  bella,  che 
vtile,  &  necessaria.  Et  non  piu  veduta  in  luce.  [Mark  of  the  brothers 
Sessa  of  Venice.]  MDLVIII.  Si  vendeno  alia  Libraria  delta  Gatta.  4°. 
31  cuts.    B.  K.  M. 

1465 —  Pompe,  Le. — Le  Pompe,  opera  nova,  nella  qvale  si  ritrovano  varie  et  di- 
uerse sorti  di  mostre  per  poter  far  cordelle,  ouer  Bindelle  d'oro,  di  seta, 
di  Filo,  ouero  di  altra  cosa.  Dove  le  belle  et  virtuose  donne  potranno  fare 
ogni  sorte  di  lauoro  cioe  merli  di  diuerse  sorte,  cauezzi,  Colari,  maneghetti, 
&  tutte  quelle  cose  le  piacceranno.  Opera  non  men  bella  che  vtile  et  neces- 
saria, et  non  piu  veduta  in  luce.  In  Venetia,  MDLIX  (1559). Petit  in-4°. 
Au-dessous  du  titre  un  neuron  ovale,  dans  lequel  on  voit  un  vautour  de- 
bout  sur  le  cadavre  d'une  biche  qu'il  tient  dans  ses  serres.  Sur  une  ban- 
derole qui  serpente  autour  du  cartouche,  on  lit  les  mots :  Virtute  Parta, 
Non  Sibi  Tantum.  Page  non  cotee.  Le  verso  de  cette  page  est  blanc,  et 
on  lit  au  milieu  de  cette  page :  Si  vendano  alia  libreria  della  Gata.  En 
tout,  16  pages  dont  un  titre  et  30  planches  de  broderies.  Vente  Piot,  1891. 
Bibliotheque  de  V Arsenal. 

1466 —  Pompe  Le — Le  pompe,  libro  secondo,  opera  nvova  nella  quale  si  ritrovano 
varie  et  diverse  sorti  di  mostre  per  poter  far  cordelle,  ouer  Bindelle  d'Oro, 
di  seta  di  Filo,  ouero  di  altra  cosa.  Doue  le  belle  &  virtuose  donne  potranno 
fare  ogni  sorte  di  lauoro  cioe  merli  di  diuerse  sorte,  Cauezzi,  Colari,  mane- 
ghetti, &  tutte  quelle  cose  che  li  piaceranno.  Opera  non  men  bella  che  utile 
et  necessaria.  Et  non  piu  veduta  in  luce.  In  Venetia,  MDLX  (1560).* 
Sur  cette  page  qui  est  en  largeur  et  non  en  hauteur  comme  dans  la 
premiere  partie  un  fleuron  ovale  dans  lequel  on  voit  un  Pegase  volant 
dans  les  airs  de  gauche  a  droite.  Impresa  of  the  printer  and  below,  In 
"Venetia  1560."  Obi.  8vo,  6  or  16  pages.  29  plates.  Mrs.  Stisted's  copy 
is  dated  1562,  and  there  is  one  at  Vienna,  in  the  Imperial  Library,  of  the 
same  date.  Bib.  de  V Arsenal. 

1467 —  Pott,  A. — Neue  Zierschriften  fur  Weiss-und  Kunst-Stickerei.  (54  pp. 
of  examples.)    Fol.  Hamburg,  1869.   S.  K.  M. 

1468 —  Pourtraiots  de  Venise,  point  coupe — P.  De  Sajow.  (Collection  of  Kur- 
sheedt  Mfg.  Co.,  N.  Y.) 

1469—  Pratt,  L.  M.— Lace  Collar.  The  Art  Worker's  Quarterly,  July,  1902,  Lon- 
don. 

1470 —  Prevot — Eventail.    L'Art  decor atif,  February,  1902,  Paris. 

1471 —  Prevot,  Gabriel  et  Gaston  Devresse — Motifs  modernes.  Serie  IV.  Den- 
telles et  Broderies  d'Art.    Plauen,  Chr.  Stoll,  n.d. 


BIBLIOGRAPHY 


347 


1472 —  Prevot,  Gabriel — Stores,  dentelles  et  broderies  style  moderne.  3  series, 
Paris,  A.  Calavas. 

1473 —  Prevot,  S. — Modern  Designs  for  Lace.  Nottingham. 

1474 —  Priestman,  M.  T. — Artistic  Darning.    Handicrafts  in  the  Home,  194-198. 

1475 —  Priestman,  M.  T. — Needle-craft  in  Curtains.  Country  Life,  V.  12,  p.  364. 
July,  1907. 

1476 —  Priestman,  M.  T. — Old  Time  Handicraft  Bevived.  Harper's  Bazaar,  V.  42, 
pp.  905-907,  September,  1908. 

1477 —  Priestman,  M.  T. — Suggestions  for  Darning.  American  Homes,  V.  8,  pp. 
134-136,  April,  1911. 

 Prince,  Le — See  Nourry,  Claude. 

 Prince,  Le — See  Sainte-Lucie,  Pierre. 

1480—  Princess  Louise  Lace.  Delineator,  V.  64,  pp.  586-587:  782-783,  October- 
November,  1904. 

1481—  Priscilla  Crochet  Book,  The— Ed.  E.  A.  Taylor.  1913. 

1482 —  Priscilla  Cross-stitch  Book — Boston.  (Collection  of  Kursheedt  Mfg.  Co., 
New  York.)  1912. 

1483 —  Proceedings  of  the  Society  of  Designers — Nottingham  Lace  with  W.  Stew- 
art Elliott's  designs.   The  Artist,  October,  1899,  London. 

1484—  Production  of  Lace.   Nation,  V.  80,  pp.  158-159,  February  23, 1905. 

1485 —  Programma  der  Nederlandsche  Kantwerkschool,  Gesticht  door  Jhr.  Ern- 
est van  Loon.  Apeldoorn,  P.  C.  Ackerman,  1802. 

1486 —  Protection  of  Lace-Making  in  England.   Saturday  Review,  V.  72,  p.  691. 

1487 —  Pulszky,  C.  de — Acta  nova  Musei  Nat.  Hungarici.  Tom  II.  Ornaments 
de  1 'Industrie  domestique  de  la  Hongrie.  (Planches.)  Fol.  Budapest, 
1878.  S.  K  M. 

 Q-  _ 

 Quaritch  Eeprints — See  Nos.  1351,  1408. 

1488 —  Queen  Lace  Book,  The — Part  I.  Mediaeval  Lacework  and  Point  Lace. 
London,  "The  Queen's"  Office,  1874.  B.  M. 

1489 —  Quentel,  P — Eyn  new  kunstlich  boich,  etc.  Gedruckt  in  Collen  durch  P. 
Quentell,  1527.  (Facsimile  reproduction.)  Ornaments,  patterns  and  let- 
ters for  needlework.   Sm.  4to.   Leipzig,  (1882).   S.  K.  M. 

1490 —  Quentell,Peter — Eyn  new  Kunstlich  boich  dair  yn  E.  vnd  rrr  viij  figurem, 
monster  ad  stalen  befonden,  wie  man  na  der  reenter  art,  laufferwerk, 
spansche  stiche  mit  dernalen  vort  op  der  Kamen,  und  vp  der  laden,  bor- 
den,  wirken  sail  wilche  stalen  all-tzo  samen  verbessert  synt  vnd  vil  kun- 
stlicher  gemacht  da  dye  eirsten  zc  sere  nutzlich  alien  wapensticker  frau- 
wen  ionferren  und  met  ger  dair  uf  s  kunst  licht  lich  tzu  leren.  Gedruckt  tzu 
Collen  up  dem  Deem  Hoff.  durch  Peter  Quentell.  Anno  MDXXXjj. 
(1532.)  Ce  titre  est  dans  une  bordure  ornementee,  ou  Pon  voit  quatre 
femmes  et  un  homme  ocupes  a  des  travaux  d'aiguille  et  de  passementerie. 
Le  volume  est  compose  de  24  f  euillets  signes  A.  F.  entierement  remplis  par 
des  dessins  de  broderies,  sauf  le  recto  du  premier  feuillet  qui  contient  le 
titre  ci-dessus  et  le  verso  qui  contient  un  portrait  de  Charles  V  assis.  Vente 
Santarelli. 


348 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1491 —  Quentell,  Peter — Ein  new  Kunstlich  ModelMch  dair  yn  meir,  dan  sechs 
hundert  figurenn  monster  a  der  stalen  befonden,  wie  mann  na  der  recti ter 
art  Perlenstiekers,  Lauffer  werck  spansehe  stiche,  mit  der  nalen  vort 
up  der  ramen  nnnd  np  der  laden,  borden,  wircken  sail  wilche  stalen  altzo 
samen  verbessert  synt  vn  vill  Kunstlicher  gemacht  dan  die  eirste  mit  vil 
meir  nenwe  stalen  bier  by  gesatzt,ze.  Sere  nutzlich  alien  wapens  ticker  frau- 
wen  ionfTerenn  nnd  metger  dair  usz  solch  Kumst  licbtlich  tzo  lnren. — Ung 
nouviau  libure  auec  pluseurs  sciences  et  patrons  qni  n'ont  point  estes  en- 
core imprimes.  Gedruckt  tzo  Collen  np  dem  Dcemhoff.  dnrch  Peter  Quen- 
tell. Im  j  air  MDXXXVI.  (1538).  In-4°  gothique.  An-dessons  de  ce  titre, 
trois  compartiments,  celui  dn  milieu  encadre  par  deux  colonnes.  Dans  le 
compartiment  de  gauche  une  femme  assise  de  profil  a  droite  et  travaillant 
a  un  metier.  Dans  celui  du  milieu  une  femme  assise  de  trois  quart  a  droite 
et  cousant.  Dans  celui  de  droite  une  femme  travaillant  a  un  petit  metier  a 
rubans.  Le  verso  de  cette  page  est  occupe  par  une  gravure  sur  bois  qui 
sert  de  titre  a  plusieurs  autres  livres  a  dentelles,  notamment  au  Pierre 
Quentel  de  1527.  C  'est  un  fronton  circulaire  posant  sur  deux  colonnes 
surmontees  cbacune  d'une  petite  figure  de  femme  brodant  a  1 'aiguille.  Au 
milieu  un  homme  travaillant  a  un  petit  metier  qu'il  tient  des  deux  mains 
appuye  sur  un  genou.  En  bas  deux  femmes  travaillant,  l'une,  celle  de 
droite  a  un  metier  de  haute  lisse,  1 'autre,  celle  de  gauche  a  un  petit  metier 
pose  devant  elle  sur  une  table.  L'interieur  de  la  page,  a  l'endroit  ou  devait 
etre  imprime  le  titre  est  blanc.  Puis  commencent  les  broderies.  Au  verso 
de  la  dernier  e  page,  les  armoiries  de  la  ville  de  Cologne,  represent  ant  deux 
animaux  f antastiques.  Celui  de  droite  a  tete  de  lion,  celui  de  gauche  a  tete 
d'aigle.  On  voit  sur  l'ecusson  central  les  couronnes  des  trois  Rois,  et  cet 
ecusson  est  surmonte  d'un  casque  heraldique.  En  bas  sur  une  tablette :  0 
Felix  Coloniae.  En  resume,  52  pages  dont  101  planches  de  broderies. 
Vente  F.   Didot,  1879. 

1492 —  Quentell,  P. — Eyn  New  Kiinstich  Modelbuech,  daryh  vill  schoner  Staelen 
begriffen  die  ietzundt  aufT  des  newst  unnd  noch  nye  in  druckt  ausgangen 
als  Rortgens  werck,  Lobartisch  vn  uberlegt  werck,  auch  wapenstickers  vn 
Schnitzlers,  frauwen  vn  Junckfrauwen  fust  nutzlich  darauf  zu  lernen,  ec. 
Gedruckt  zu  Coin  (lurch  Peter  Quentell.  Im  iair  1544.  Vng  nouveau  liure 
avec  plusieurs  sciences  et  patrons  qui  nont  poinct  este  encore  imprimees. 
4°.    Title  page  and  6  leaves.    B.  K  M. 

1493 —  Quentel,  P. — Ein  new  kunstlich  Modelbuch  .  .  .,  etc.  Exemplaire  absolu- 
ment  semblable  a  celui  est  decrit  ci  dessus,  avec  cette  difference  qu'il 
est  date  de  1545.  Les  cotes  des  pages  ne  sont  pas  en  caracteres  go- 
thiques  comme  dans  1 'autre  exemplaire.  Vente  Didot,  1879.  Vente  Des- 
tailleurs,  1895.  P.  Quentel  a  ete  longtemps  considere  comme  le  plus  ancien 
editeur  de  livres  a  dentelles.  On  a  de  lui  un  livre  de  broderie  publie  en 
1527.  Ce  livre  fut  reimprime  en  1529,  1532  et  1544.  Cette  derniere  edition, 
celle  qui  nous  occupe  ici  a  ete  decrite  exactement  pour  la  premiere  fois 
dans  le  catalogue  de  la  vente  Didot. 

1494 —  Quentel,  Peter — Modellbuch  (Ornamente  und  Stickmuster).     Nach  der 


BIBLIOGRAPHY 


349 


hochst  seltenen  Coiner  Ausgabe  (1527-29)  auf  80  Tafeln  in  Lichtdruckre- 
produktion  herausgegeben.    Leipzig,  1880. 
.1495 — Quentel,  Peter — 1527-1529,  Musterbuch  fur  Ornamente  und  Stickmuster. 
Leipzig,  A.  M.  Gotze,  n.d.   Kunstgewerbe-Museums  zu  Leipzig. 

1496 —  Qui  laborat  orat  (travail  de  la  Dentelle).  Dublin  University  Magazine, 
December,  1869,  Dublin. 

1497 —  Quignon,  Gr.  H. — La  Dentelle  Chantilly.  Established  by  the  Duchesse  de 
Longueville. 

1498 —  Quinty,  Pierre — Liure  nouveau  et  subtil  touchant  lart  et  science  tant  de 
brouderie,  fronssures,  tapisseries  come  aultres  mestiers  qun  fait  ales- 
guille,  soit  au  petit  mestier,  aultelisse  ou  sur  toille  clerc,  tresvtile  et  neces- 
saires  a  toutes  gens  usans  des  mestiers  et  ars  dessuld  ou  semblables  ou  il  y 
ha  C  et  xxxviij,  patrons  de  diuers  ouvraiges  faich  per  art  et  proportion. 
En  primere  a  culoge  (Cologne)  par  metrepiere  quinty  (Pierre  Quinty), 
demorant  denpre  leglie  de  iii  Eoies.  Petit  in-8°.  Ce  titre  est  dispose  dans 
un  rectangle  blanc  entoure  d'un  trait  carre.  Dans  ce  rectangle  une  com- 
position gravee  sur  bois.  Voir  ci-dessus  la  description  de  cette  com- 
position. Verso.  Des  armoiries  des  deux  cotes  desquelles  sont  deux  ani- 
maux  fantastiques,  celui  de  droite  a  tete  de  lion,  celui  de  gauche  a  tete 
d'aigle.  On  voit  sur  l'ecusson  central  les  couronnes  des  trois  Bois,  et  cet 
ecusson  est  surmonte  d'un  casque  heraldique.  En  bas  de  la  composition 
une  petite  tablette  rectangulaire  sur  laquelle  on  lit :  0  Felix  Colonia,  1527. 
Puis  commencent  les  broderies  imprimees  au  recto  et  au  verso. — Une  page 
non  cotee,  alphabet  gothique  a  fond  de  canevas,  allant  de  la  lettre  A  a  la 
lettre  P.  Verso,  fin  de  cet  alphabet. — Une  page  non  cotee,  alphabet  en  capi- 
tales  droites  a  fond  de  canevas. — Verso,  alphabet  en  capitales  droites,  les 
lettres  d'impression  sur  fond  blanc.  En  resume,  22  feuillets  avec  42 
planches.    Bibliotheque  Nationale. 


1499 —  E.,  J.  S .— Nottingham  Lace  Edgings.   The  Artist,  March,  1900,  London. 

1500 —  E.,  Mme.  de — Traite  de  la  dentelle  aux  fuseaux,  dentelles  de  Mirecourt,  de 
Valenciennes,  de  Malines,  de  Flandre,  de  Bruxelles,  de  Venise,  1879. 

1501 —  Eamsey,  A.  E. — Masterpiece  of  Mary  Queen  of  Scots.  Ladies'  Home  Jour- 
nal, V.  17,  p.  13,  June,  1900. 

1502 —  Eapport  general  sur  la  situation  de  1 'Industrie  et  du  commerce  dans  le 
ressort  de  Saint-Nicolas,  annee,  1872. 

1503 —  Easmussen,  S. — Kloppelbuch.    Eine  Anleitung  zum  Selbstunterricht  in 
Spitzenkloppeln.    Plates.    4to.    Kopenhagen,  1884.   S.  K.  M. 

1504 —  Easmussen,  Sara — Notiser  om  Point  de  Venise  og  Point  de  France.  Tids- 
skrift  for  Kunstindustri,  1889,  Copenahagen. 

1505 —  Eeal  Lace,  A  Hint  to  Collectors — The  Connoisseur,  November,  1905,  Lon- 
don. 

1506 —  Eeboul — Memoire  historique  sur  le  Tulle  et  les  Dentelles  mecaniques  de 
Calais,  Preface  de  M.  Passy.   Calais,  L.  Fleury,  1885. 

1507 —  Eechami,  de — Per  elquale  se  impara  in  diversi  modi,  Pordine  el  il  modo 
de  recamare,etc.    Eeprint.    n.p.  n.d. 


350 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1508 —  Recueil  factice  de  126  planches  de  dentelles  de  broderie  et  points  coupes. 
En  un  vol.  in-4. 

1509 —  Redmond,  L.  M. — Lace  in  the  Household.  House  Beautiful,  V.  28,  pp.  18- 
20.    June,  1910. 

1510 —  Regnal,  Georges — La  cause  de  la  vraie  dentelle  francaise.  Simple  Revue, 
May,  1904,  Paris. 

1511 —  ReifTenberg,  di — Notice  sur  la  Dentelle.  Dictionnaire  de  la  Conversation, 
etc.,  au  mot  6 '  Dentelle. ' ' 

1512 —  Reiser,  D.  H. — New  Russian  Drawn-work.  Ladies'  Home  Journal,  V.  23, 
p.  64,  March,  1906. 

1513 —  Renner,  Henry — Zeichnungen  fur  Spitzen  und  Stickereien.  Zurich,  M. 
Kreutzmann,  1911. 

1514 —  Reusens — Album  de  Part  Ancien  a  PExposition  de  Bruxelles,  1884.  La 
Dentelle  Notice  par  le  chanoine  Reusens.  In  folio  de  7  pages  de  texte  et 
30  planches  en  phototypie  reproduisant  les  plus  beaux  specimens  des 
dentelles  qui  ont  figurees  a  PExposition. 

1515 —  Revival  of  the  European  Lace-industry.  Review  of  Reviews,  V.  35,  pp. 
607-608,  May,  1907. 

1516 —  Revolte  des  Passements,  1660,  La — By  a  friend  of  Mme.  de  Sevigne. 
1516a-Revue  des  Deux  Mondes — L'industrie  de  la  dentelle  en  Normandie,  Ire 

avril,  1900. 

1517 —  Reynolds,  L.  A. — A  Lesson  in  the  Making  of  Honiton  Lace.  Art  Workers' 
Quarterly,  V.  4,  No.  13,  pp.  40-43. 

1518 —  Rhead,  G.  Wolliscroft — History  of  the  Fan  in  Ancient  and  Modern  Times. 
Magnificently  illustrated  with  27  full-page  colored  illustrations,  127  full- 
page  illustrations  in  black  and  white.   London,  1910. 

1519 —  Rheden,  Klaus  von — Brabanter  Spitzen.  Velhagen  £  Klasings  Monats- 
hefte,  Jahrg.  16,  pp.  145-156.   Bielefeld,  1902. 

1520 —  Rhone,  Fabrication  de  la  Dentelle  dans  le  Departement  du,  et  les  departe- 
ments  limitrophes.    (Maison  Dognin  et  Cie.)   4to.  Lyons,  1862.   S.  K.  M. 

1521 —  Riano,  J.  F. — Catalogue  of  the  Art  Objects  of  Spanish  Production  in  the 
S.  Kensington  Mus.    (Class  X.  Lace.)   8vo.  London,  1872.   S.  K.  M. 

1522—  Riano,  J.  F.— The  Industrial  Arts  in  Spain.  (Lace).  8vo.  (Lond.),  1879. 
S.  K.  M. 

1523 —  Ribello — Trionfo  di  Virtv,  Libro  novo  da  cusir,  nel  qual  si  contengono 
molti  et  diuerse  sorti  di  f  ogliami  del  quale  ogni  gentil  et  virtuosa  Madonna 
se  potra  servire.  In  far  Ponti  a  fili,  Ponti  cruciati,  ponti  intrezola,  ponti 
instura,  ponto  scritto  tirar  in  opera  cuchiar,  Terser  e  molti  altri  ponti 
come  a  loro  piacera.  Ce  titre  est  dans  un  cartouche  ovale,  forme  de  cuirs 
enroules  et  decore  sur  les  cotes  de  guirlandes  de  fruits  et  de  fleurs.  Au- 
dessous  une  composition  gravee  sur  bois.  On  voit  a  gauche  une  femme  de 
la  haute  societe,  assise  sur  une  chaise  de  bois,  dont  le  dossier  est  decore  de 
sculptures.  D  'une  main,  elle  tient  une  etoffe  poseei  sur)  ses  genoux,  de 
Pautre  elle  indique  un  ouvrage  pose  sur  les  genoux  d'une  autre  femme 
assise  pres  d'elle  a  droite.  Deux  autres  femmes  completent  cette  composi- 
tion. Celle  qui  est  a  Pextremite  de  droite,  a  egalement  sur  ses  genoux  un 
ouvrage  representant  des  entrelacs  et  elle  se  penche  a  gauche  pour  regarder 


BIBLlO  GRAPEY 


351 


le  travail  que  fait  sa  compagne.  Le  parquet  est  forme  de  carreaux  blancs 
et  noirs  et  on  voit  un  panier  en  osier,  contenant  du  linge  et  des  etoffes. 
Au  fond  un  paysage.  Au  verso  d'un  page,  une  grande  marque  de  libraire 
gravee  sur  bois.  Une  femme  a  genoux  de  profil  a  droite,  tenant  des  deux 
mains  devant  elle  un  calice.  Pres  d'elle  couchee  par  terre  la  Sainte- 
Croix.  Medaillon  ovale,  entoure  d'une  bordure  sur  laquelle  on  lit:  Senza 
di  me  l'huom  fassi  a  dio  Eibello.  En  tout  un  titre  et  15  feuillets,  done  16 
feuillets  dont  28  plancbes  de  broderies.    B.  M. 

1524 —  Eicami  per  Biancheria,  200  incisioni  e  teste  esplicativo.  Fratelli  Trevas, 
Editori.  Milan. 

1525 —  Eicci,  Elisa — Anticbe  trine  Italiane.  Bergamo.  Institute  Italiano  d'Arti 
Graficbe,  1908.   B.  M. 

1526 —  Eicci,  Elisa — Old  Italian  Lace.  2  vols.  London,  W.  Heineman.  Phila- 
delphia, J.  B.  Lippincott  Co.,  1913. 

1527 —  Eicci,  Elisa — Peasant  Art  in  Italy.  Special  Number  of  the  International 
Studio,  1913. 

1528 —  Eicci,  E. — Eevival  of  Needle-work  in  Italy.  International  Studio,  V.  52, 
pp.  197-206,  May,  1914. 

 Eicci,  E. — See  Nos.  1324,  1364a,  1805a,  1813,  1894. 

1529 —  Eicci,  Leone — Catalogue  of  the  Leone  Eicci  collection  of  old  Lace.  Class- 
ified, described  and  catalogued  by  Sara  Hadley.  New  York,  Metropolitan 
Art  Association,  1915. 

1530—  Eichard,  J.  M.— Mahaut,  Comtesse  d'Artois,  etc.  (1302-1329.)  (Needle- 
work.)   8vo.    Paris,  1887.   S.  K.  M. 

1531 —  Eieger,  F. — Eieger'sche.  ModeLes  de  broderie  en  noirs  et  enlumines. 
(18  plates.)    Obi.  fol.  Mannheim.    1808.    S.  K.  M. 

1532 —  Eieujeyroux,  A.  de — Traite  de  la  Dentelle  au  Fuseau.  1879. 

1533 —  Eiotor,  Leon — La  concours  de  dentelles  de  1 'Union  Centrale  des  Arts  De- 
coratifs.    L'Art  decor atif,  1905,  Paris. 

1534 —  Eiotor,  Leon — Les  Dentelles  de  l'Ecole  des  Arts  et  Metiers  de  Vienne. 
L'Art  decor  atif ,  October,  1900,  Paris. 

1535 —  Eipley,  C. — Lace  and  Lace  Making,  Court  of  the  Connoisseur ;  the  Lineage 
of  Laces.    Good  Housekeeping ,  V.  63,  pp.  54-55,  October,  1916. 

1536 —  Eisa,  Dr.  A. — Schlesische  Spitzen.  Mittheil.  des  Kais.  Fr.  Jos.  Museum 
fur  Kunst  und  Gewerbe.    Troppau,  1899-1900. 

1537 —  Eizzardi,  Gio.  Dominico — Griardino,  nel  quale  si  dimostra  varrj.  disegni  per 
far  Eicami  et  altri  lauori  che  con  lago  hoggidi  si  usano.  Padoua.  Gio. 
Dominico  Eizzardi,  1607.  32  feuillets  y  compris  le  titre  et  3  feuillets  de 
dedicace  et  de  vers  a  la  signora  Isabella  Franoazani  Alecarda.  Les 
planches  ainsi  que  le  cartouche  ornemente  du  titre  sont  imprimes  seule- 
ment  au  recto.   Vente  Santarelli. 

1538 —  Eobie,V. — Quest  of  the  Quaint.    Bypaths  in  Collecting,  496-516. 

1539 —  Eobinson,  F.  Mabel — Irish  Lace.  The  Art  Journal,  1887,  London,  V.  39,  p. 
144. 

1540 —  Eobinson,  F.  Mabel — The  Lace  School  at  Burano.  The  Magazine  of  Art, 
April,  1884,  London.  V.  7,  p.  257. 


352 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1541 —  Bobinson,  F.  Mabel — Old  Venetian  Point.  The  Magazine  of  Art.  De- 
cember, 1883,  London. 

1542 —  Bobson,  Isabel  Stuart — England's  Oldest  Handicrafts — Hand-made  Lace. 
The  Antiquary,  July,  1898,  London. 

1543 —  Bock,  Dr. — Introduction  to  Textile  Fabrics  at  South.  Kensington  Museum. 

1544 —  Bock,  Bev.  Dr. — Textile  Fabrics,  a  Descriptive  Catalogue  of  the  Collection 
of  Church  Vestments,  Dresses,  Silk  Stuffs,  Needlework,  and  Tapestries, 
in  the  South  Kensington  Museum.  20  full-page  plates,  some  colored.  Thick 
royal  8vo.   London,  Published  for  the  Committee,  1870. 

1545—  Bocker,  E.— Crochet  Doilies.    Delineator,  V.  79,  pp.  222-223,  March,  1912. 

1546—  Bocker,  E.— Latest  Crochet  Collars.    Delineator,  V.  79,  p.  338,  Apr.,  1912. 

1547 —  Bocker,  E. — Narrow  Crochet  Edgings.  Delineator,  V.  79,  p.  143,  Feb.  1912. 

1548 —  Bocker,  E. — Venetian  Lace  Crochet.   Delineator,  V.  79,  p.  65,  Jan.,  1912. 

1549 —  Boger-Milles — Comment  diseerner  les  styles?  Etudes  sur  les  formes  et 
les  decors  dans  les  objets  d'art .  .  .  dentelles,  etc.  Paris.  Ed.  Bouveyre, 
n.d. 

1550 —  Boger-Milles — Comment  discerner  les  styles?  La  Dentelle.  Transforma- 
tions progressives  XVIe  et  XVIIe  siecles.   Paris,  Ed.  Bouveyre,  n.d. 

1551 —  Bogge,  Elizabeth,  et  A.  von  Saher — Tentoonstelling  van  Kunstnaaldwerk 
in  het  Museum  van  Kunstnijiverheid  to  Haarlem,  1904.  Amsterdam, 
Scheltema  &  Holkema,  n.  d. 

1552 —  Bomanelli-Marone,  Giacinta — L'Arte  delle  Trine  in  Italia.  II  Secolo  XX, 
January,  1903. 

1553 —  Bomanelli-Marone,  G. — Trine  a  Fuselli  in  Italia.  Manuali  Hoepli.  Mi- 
lano,  1902.   B.  M. 

1554 —  Bonaldson,  Miss — Lady's  Book  of  Crochet  Work.  1848. 

1555 —  Bonse,  Alfred — Discours  prononce  le  15  mars,  1884,  au  conseil  communal 
de  Bruges. 

1556 —  Bosevear,  E. — A  Manual  of  Needlework  and  Knitting.  136  pages.  Lon- 
don, 1894.  In  British  Museum. 

1557 —  Bosevear,  E. — Needlework,  Knitting  and  Cutting  Out.  London,  1894,  3 
parts.   In  British  Museum. 

1558 —  Bosevear,  E. — Needlework  and  Knitting  for  Older  Girls,  etc.  3  parts, 
London,  1894.    B.  M. 

1559 —  Botherham,  Jeremiah  &  Co. — Lace  curtains :  new  designs  for  1898.  Lon- 
don, (1898).   la.  8vo. 

1560 —  Bottigni-Marsilli,  Ctessa  G. — Una  grande  Industria  Artistica  Italiana.  I 
Merle tti  di  Venezia.   Lf  Italia  Moderna,  1904,  No.  6,  Borne. 

1561 —  Bottigni-Marsilli,  Giannina! — Seritti  Vari.  Borne  Union  Coop.  Editrice, 
1896. 

1562 —  Bouaix,  P. — Dictionnaire  des  Arts  decoratifs  a  1 'usage  des  artisans,  etc. 
(Broderie  et  Dentelle.)  8vo.   Paris,  1886.   S.  K.  M. 

1563 —  Bouaix,  P. — Les  Styles.  700  gravures  classees  par  epoques.  (Embroid- 
ery) fol.    Paris,  1886.    S.  K.  M. 

1564 —  Bousseau,  Eugene — Dans  la  Cite  binehoise.  L'industrie  de  la  dentelle.  Le 
Peuple,  Sept.  12,  1904,  Brussels. 

1565 —  Boyal  Trousseaux — The  Lady's  Realm.   September,  1889,  London. 


BIBLIOGRAPHY 


353 


1566 —  Euelle,  Jehan — Patrons  pour  Brodeurs,  Lingieres,  Massons,  Verriers  et 
autres  gens  d'espirt,  nouvellement,  Imprime  a  Paris,  Par  Jehan  Euelle. 
Encadrement  du  titre  absolument  le  memo  que  dans  V  No.  1567.  Le  titre 
est  egalement  le  meme.  Page  non  cotee,  au  verso  trois  petites  gravures  sur 
bois,  tires  de  la  Vie  de  Notre-Seigneur.  En  haut,  les  femmes  au  Saint- 
Sepulchre.  En  bas  a  gauche  Jesus  apparaissant  a  ses  disciples,  a  droite 
Jesus  et  les  compagnons  d'Emmaus.  En  tout  un  titre,  et  23  feuillets  dont 
31  planches  de  gravures.  See  No.  1429.    B.  M. 

1567 —  Euelle,  Veuve  Jean — Patrons  pour  Brodeurs,  Lingieres,  Massons,  Ver- 
riers et  autres  gens  d'E spirt.  A  Paris,  pour  la  Veuve  lean  Euelle,  Eue 
S.  Jacques  a  l'enseigne  Sainct-Nicolas.  Ce  titre  est  inscrit  dans  un  rec- 
tangle en  hauteur,  entoure  de  trois  filets  et  encadre  par  un  entourage  de 
cuirs  roules  et  de  rinceaux.  De  chaque  cote  de  cette  composition,  une 
femme  en  cariatide,  portant  sur  sa  tete  un  chapiteau,  sur  lequel  s'appuie 
la  base  d'une  arcade  ogivale.  Sur  ces  chapiteaux  se  voient  egalement  une 
petite  femme  assise,  tenant  d'une  main  une  plume,  de  T  autre  un  livre 
ouvert.  En  bas,  au  milieu,  un  mascaron,  entre  deux  petits  enfants  et  des 
chimeres  grotesques,  portant  sur  leurs  tetes  des  couronnes  a  pointes.  En 
tout,  un  titre  et  23  feuillets  dont  31  planches  de  gravures.  Bib.  deP Arsenal. 
11,954  (with  D.  de  Sera.)    See  No.  1429.   Bibliotheque  de  V Arsenal. 

1568 —  Euelle,  V.  Jean — Pattern  Book,  Paris,  1564,  23  pages,  32  plates.  See  No. 
1429. 

1569 —  Eupprecht,  M.  A.  and  Haffner,  J.  C. — Verschiedene  Modell  zum  Strick- 
en und  Nahen.   Obi.  4to.  Augspurg,  n.d.    (18th  century).    S.  K.  M. 

1570 —  Euutz-Eees,  J.  E. — Home  decoration;  art  needlework  and  embroidery, 
etc.,  8vo.  N.  Y.,  1881.  Another  edit.   8vo.  N.  Y.   1884.   S.  K.  M. 

1571 —  Eyland,  Clarice,  at  Handsworth — Col  de  dentelle.  Pro  jet  d'un  voile  de 
mariage.    Art  applique,  2e  annee,  Paris. 


1572—  S.,  A.  M.  (Mary  Sharp)— Point  and  Pillow  Lace.  E.  P.  Dutton  &  Co., 
London,  1899.   B.  M. 

1573—  S.,  A.  M.— Point  and  Pillow  Lace.  Nation,  V.  70  )p.  18,  Jan.  4,  1900: 
Athenaeum,  V.  2,  pp.  651-652,  Nov.  17,  1900.  Magazine  of  Art,  V.  25, 
pp.  227-230,  March,  1901.    See  Sharp,  Mary. 

1574 —  S. — M.  de — Epaulettes  de  Dentelle.  Journal  des  Dames  et  des  Demoiselles, 
March  1,  1902,  Brussels. 

1575 —  S.,  E.  M. — Nuw  Modelbuch,  allerley  gattungen  Dantelschnur  so  diser  zyt 
in  hoc  Tiitschlanden  geng  und  bruchig  sind  zu  vnderricht  jven  Leertoeh- 
teren  vnnd  alien  anderen  schurwiirkeren  zu  Zurych,  vnd  wo  die  sind,  yetz 
nuwlich  zubereit,  vnd  estmals  in  Truck,  verfergket  durch  E.  M.  S.  Petit 
in-4°.  24  ff.  Tres  rare.  Sorti  probablement  des  presses  de  Froschovern. 
Les  2  ff.  liminaires,  contiennent  le  titre  avec  une  gravure  representant 
deux  dames  faisant  de  la  dentelle,  et  une  preface.  Les  feuillets  /  a  XIX 
chiff  res,  contiennent  de  nombreux  modeles  graves  sur  bois  et  les  trois 
dernier s  la  table.  Catalogue  Tross,  1870.  New  Modelbuch.  "Printed  at 
Zurich,  by  Christoph.  Froschowern.  About  The  year,  1560." 


354 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


 S.,— E.  M.  see  M  — E. 

1577 —  S.,  T.  E.  D. — Buckinghamshire  Lace.  Atalcmta,  November,  1896,  London. 

1578 —  Sachs,  Phyllis  G.,  at  London — Projet  de  col  et  barbe.  Art  applique,  Ire 
annee,  Paris. 

1579 —  Sainte-Croix,  Dr.  Le  Boy  de — Parement  d'Autel  ancien  en  Dentelle  et 
Broderie,  appartenant  a  Mrs.  Hailstone.  8vo.  Wakefield  and  Paris.  1874. 
S.  K.  M. 

1580 —  Sainte  Lucie,  Pierre  de — La  fleur  des  patrons  de  lingerie  a  deux  endroits, 
a  point  croise,  a  point  couche  et  a  point  picque  en  fil  d'or,  fil  d 'argent 
et  fil  de  soye  ou  aultre  en  quelque  ouuraige  que  ce  soit  en  compre- 
nant  1 'art  de  broderie  et  tissuterie.  Imprimees  a  Lyon  en  lai  maison  de 
Pierre  de  Sainte  Lucie,  diet  le  Prince  pres  Nostre  dame  de  Confort.  In-4°. 
Ce  titre  est  dans  un  encadrement  absolument  pareil  a  celui  qui  est  decrit 
ci-dessus.  La  seule  difference  est  que  cette  premiere  page  n'est  pas 
cotee  A  comme  elle  l'est  dans  L 'edition  ci-dessus  et  qu'il  y  a  au 
verso  un  dessin  de  broderie.  Page  non  cotee,  verso.  Au  verso  de 
cette  page,  une  marque  d'imprimeur,  representant  un  rocher,  sur- 
monte  d'une  ville  forte.  A  gauche  un  homme  cherche  a  monter  le 
chemin  escarpe  qui  mene  a  cette  ville.  Pres  de  sa  bouche  on  lit  le  mot 
spero.  A  droit e  dans  une  grotte,  une  furie  la  tete  et  les  bras  entoures  de 
serpents.  Au-dessous  de  cette  marque:  Imprime  a  Lyon  par  Pierre  de 
saincte  Lucie  diet  le  Prince,  1549.  8vo,  12  IT.,  21  plates.  Frontispiece. 
Title  in  Gothic  letters,  with  woodcuts  representing  people  at  work.  Below 
two  women  sitting  at  frames ;  above,  two  others ;  and  between,  a  man  with 
a  frame  in  his  hand.  On  each  side  a  shield,  one  with  crowned  heart, 
on  the  other  a  lion,  three  fleurs  de  lys  in  chief.  Patterns  mediaeval..  Sil- 
vestre  gives  1530  to  1555  as  the  date  of  Pierre  de  Saincte  Lucie.  Voila 
done  dit  M.  le  marquis  d'Adda,  dans  sa  bibliographie,  le  premier  volume 
de  ce  genre  imprime  a  Lyon  et  anterieur  de  36  ans  a  l'ouvrage  d'Ostaus, 
Tresor  des  Patrons,  que  M.  Alvin  nous  donne  non  seulement  pour  le  pre- 
mier livre  sur  ces  matieres  publie  a  Lyon,  mais  encore  pour  le  premier  en 
date  de  toute  la  France.  Bound  in  one  volume  with  the  three  following. 
(Nos.  16,  17  and  18.) — Catalogue  des  Livres  provenant  de  la  Bibliotheque 
de  M.  L.  D.  D.  L.  V.  (Duke  de  La  Valliere).  Paris,  1763.  T.  xi.,  No. 
2,204.   Bibliotheque  Sainte- Genevieve. 

1581 —  Saincte  Lucie,  Pierre  de — Lyure  nouueau  diet  patrons  de  lingerie:  e'est 
assauoir  a  deux  endroitz,  a  point  croise,  point  couche,  et  point  picque  en 
fil  d'or,  d 'argent,  de  soye  et  aultre  en  quelque  ouurage  que  ce  soit:  en 
comprenant  l'art  le  broderie,  et  tissuterie.  On  les  vend  a  Lyo  chez  Pierre 
de  Saicte  Lucie,  pres.  nostre  Dame  de  Confort.  C'est  absolument  le 
meme  exemplaire  que  celui  de  1 'edition  de  Claude  Nourry  decrit  ci-dessus 
meme  nombre  de  pages,  memes  dessins  de  broderies,  memes  cotes  par  ca- 
hiers  de  4  pages.  Au  verso  de  la  derniere  page  la  marque  d'imprimeur 
est  differente.  Ici  c'est  une  sorte  d'Ecusson  dans  une  couronne  de  bran- 
chages ;  au-dessous  de  cette  couronne  et  enlacee  avec  elle  une  banderole  sur 
laquelle  on  lit:  Oculi  mei  semper  ad  Dominum.  Psal.  24.  Au  bas  une 
main  tenant  un  bassin  circulaire  dans  lequel  on  voit  deux  yeux.    40  wood- 


BIBLIOGRAPHY 


355 


cut  lace  designs,  engraved  title,  and  printer's  mark,  16th  century.  8vo. 
Lyons,  n.d.    See  also  Belin,  A.    S.  K.  M. 

1582 —  Saincte  Lucie,  Pierre  de — Livre  nouueau  diet  patrons  de  lingerie,  e'est 
assauoir  a  deux  endroitz  a  point  croise,  point  couche  et  point  picque  en  fil 
d'or,  d 'argent,  de  soye  et  aultre  en  quelque  ouvrage  que  ce  soit,  en  com- 
prenant  l'art  de  broderie  et  tissoterie.  Imprime  a  Lyon,  chez  Pierre  de 
Saincte  Lucie,  pres  Nostre  Dame  de  Confort.  In-4°.  Ce  titre  est  dans 
un  encadrement  absolument  pareil  a  celui  de  1 'edition  de  Claude  Nourry. 
La  seule  difference  est  que  cette  page  n'est  pas  cotee  A  comme  dans  la  sus- 
dite  edition,  et  qu'il  y  a  ici  au  verso  un  dessin  de  broderie.  Les  cotes  des 
pages  sont  exactment  les  memes,  et  leur  nombre  egalement.  Au  verso  de 
la  derniere  page,  une  marque  d'imprimeur  representant  un  rocher  sur- 
monte  d'une  ville  fortifiee.  A  gauche  un  homme  cherche  a  monter  le  che- 
min  escarpe  qui  mene  a  cette  ville.  Pres  de  sa  bouche  on  lit  le  mot :  Spero. 
A  droite  dans  une  grotte,  une  furie,  la  tete  et  les  bras  entoures  de  serpents. 
8vo,  24  fT.,  44  plates.  Frontispiece.  Title  in  Gothic  letters;  the  same 
shields ;  two  women  at  work.  Patterns  mediaeval.  At  the  end  the  same 
device.  The  copy  of  the  Arsenal  is  a  different  impression.  Instead  of 
''Imprimes,"  &c,  we  have,  "On  les  vend,"  etc.  Cat.  d'Estrees.  Bib. 
de  1 'Arsenal.    Bib.  Sainte  Genevieve. 

1583 —  Sainte  Lucie,  Pierre  de — 
Patrons  de  diuerses  manieres, 
Inuentez  tres  subtilement 
Duysans  a  Brodeurs  et  Lingieres, 
Et  a  ceux  lesquelsz  bravement 
Veullent  par  bon  entendement 
User  d 'antique  et  Eoboesque 
Frize  et  moderne  proprement 
En  comprenant  aussi  moresque, 

A  tous  massons,  menuisiers  et  verriers, 
Feront  promt  ces  pourctraitz  largement 
Aux  orpheures  et  gentilz  tapis siers 
A  ieusnes  gens  aussi  semblablement 
Oublier  point  ne  veulx  aucunement 
Contrepointiers  et  les  tailleurs  d'ymages. 
Et  tissotiers  lesquels  pareillement 
Par  ces  patrons  acquerront  heritages. 

Imprimees  a  Lyon  par  Pierre  de  Sainte-Lucie,  diet  le  Prince,  pres  Nos- 
tre -Dame  de  Confort.  Ce  titre  est  dans  le  meme  encadrement  que  celui 
decrit  ci-dessus  avec  cette  difference  que  la  page  n'est  pas  cotee  AA, 
comme  elle  Pest  dans  l'edition  ci-dessus.  Non  cotee.  S'ensuyent  les  Pa- 
trons de  Messire  Antoine  Belin  reclus  de  Sainct  Martial  de  Lyon.  Item 
plusieurs  autres  beaux  patrons  nouueaulx  qui  ont  ete  inventez  par  Jehan 
Mayol  Carme  de  Lyon.  On  les  vend  a  Lyon  chez  le  Prince.  Ce  titre  est 
dans  un  encadrement  forme  de  deux  collonnes  autour  desquelles  tourne 
un  rinceau  de  feuillage.  Au  milieu  de  la  page  une  marque  d'imprimeur 
representant  un  rocher  surmonte  d'une  ville  fortifiee.    A  gauche  un 


356 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


homme  cherche  a  monter  le  chemin  escarpe  qui  mene  a  cette  ville.  Pres 
de  sa  bouche  on  lit  le  mot :  Spero,  a  droite  dans  une  grotte,  une  f urie,  la 
tete  et  les  bras  entoures  de  serpents.  Au  verso  un  quadrille,  sans  des- 
sin  de  broderie.  8vo,  16  ff.,  31  plates.  Title  in  Gothic  letters.  Patterns 
mediaeval.  The  copy  at  the  Arsenal  is  a  later  impression.  ' '  On  les  vend 
a  Lyon,  par  Pierre  de  Saincte  Lucie,  en  la  maison  du  deffunct  Prince, 
pres,"  etc.  It  has  only  12  ff.,  and  23  plates.  Bibliotheque  de  Sainte-Ge- 
nevieve. 

1584 —  Sainte  Lucie,  Pierre  de — 
Patrons  de  diuerses  manieres, 
Inuentez  tres  subtilement 
Duysans  a  Brodeurs  et  Lingieres, 
Et  a  ceux  lesquelsz  bravement 
Veullent  par  bon  entendement 
User  d 'antique  et  Eoboesque 
Frize  et  moderne  proprement 
En  comprenant  aussi  moresque, 

A  tous  massons,  menuisiers  et  verriers, 

Feront  proffit  ces  pourctraitz  largement 

Aux  orpheures  et  gentilz  tapis siers 

A  ieusnes  gens  aussi  semblablement 

Oublier  point  ne  veulx  aucunement 

Contrepointiers  et  les  tailleurs  d'ymages. 

Et  tissotiers  lesquels  pareillement 

Par  ces  patrons  acquerront  heritages. 

On  les  vend  a  Lyon,  par  Pierre  de  Sa'ncte  Lucie, 

En  la  maison  du  deffunct  Prince,  pres  Nostre-Dame  de  Confort. 

Quelques  exemplaires  portent  au  lieu  des  trois  dernieres  lignes  ci-dessus : 

Imprimees  a  Lyon  par  Pierre  de  Sainct-Lucie,  diet  le  Prince,  pres  Nostre- 

Dame  de  Confort.   C'est  absolument  le  meme  livre  que  celui  decrit  ci-des- 

sus,  sauf  les  differences  dans  Pen  once  du  titre.    Bibliotheque  de  L'Ar- 

senal. 

 Nos.  1580-1584  bound  in  1  vol.  Ellis  (London)  Cat.  No.  177,  1918. 

1585 —  Sainte  Lucie,  P.  de — Patrons  de  divers  manieres,  etc.  Sm.  obi.  4to. 
Lyons,  Pierre  de  Ste.  Lucie,  1590.  11  tracings  of  these  patterns  by  C.  E. 
Clerget.  S.  K.  M. 

1586 —  Sainte  Lucie,  Pierre  de — La  vera  perfettione  del  disegno,  di  varie  sorti 
di  recami,  et  di  cucire  ogni  sorte  di  punti  a  fogliami,  punti  tagliati,  punti  a 
fili  &  rimessi,  punti  incrociati,  punti  a  stuora  &  ognaltre  arte  che  dia  opera 
a  disegni  a  di  nuovo  aggiuntoui  varie  sorti  di  merli,  e  mostre  che  al  pre- 
sente  sono  in  vso  pratica.  In  Venetia  Appresso  Francesco  di  Franceschi, 
senese  all'  insegna  della  Pace,  1591.  In-4°  oblong.  Sur  le  titre  un  neuron, 
representant  une  femme  assise,  tenant  d'une  main  une  branche  d'olivier, 
de  1 'autre  une  torche  allumee  dont  la  flamme  repose  sur  le  sol.  Dedicace  : 
Alia  Clarissima  signora  Lvcretia  Contarini.  Verso,  une  gravure  sur  bois, 
representant  Lucrece  Romaine  entouree  de  ses  f emmes.  A  droite  un  guer- 
rier  dans  une  porte.    Signee  en  bas  a  gauche  dans  l'interieur  du  dessin; 


BIBLIOGRAPHY 


357 


Jose  Sal.  1557.  (Joseph  Salviati,  plus  connu  sous  le  nom  de  Porta  Gar- 
fagnino.)  Deux  sonnets  en  regard  Tun  de  1 'autre.  Celui  de  gauche: 
Alia  Clarissima  signora  Lucrecia  Priuli.  Celui  de  droite:  Sonetto  alle 
saggie  et  Virtuose  donne.  Verso,  preface  aux  lecteurs :  Alii  saggi  et 
giuditiosi  lettori.  La  derniere  page  non  cotee,  mais  numerotee  LXXVIIII, 
a  au  verso :  Begistro,  ABODE  Tutti  sono  quaderni.  Puis  au-dessous 
un  cartouche  dans  lequel  on  voit  la  Paix  personnifiee  par  une  femme  te- 
nant d'une  main  une  branch  e  d'olivier,  de  1 'autre  une  torche,  la  flamme  ren- 
versee.  Au-dessous  on  lit :  In  Venetia  M  D  X  C.  Cette  date  ne  concorde 
pas  avec  celle  du  titre.  II  pourrait  done  se  faire  qu'il  y  ait  eu  une  edition 
anterieure  en  1590.  73  planches  de  broderies.  Catalogue  Yemeni tz.  Cat- 
alogue Eiva.  Bibliotheque  de  L 'Arsenal.  Bibliotheque  Nationale. 
 Sainte  Lucie — See  A.  Belin  and  Johan  Troulon. 

1587 —  Salwen,  Ebba — Eussische  Frauenarbeiten.  Plauen,  C.  Stoll,  191(?). 

1588 —  Sammlung  neuer  Muster  zum  Sticken  in  Plattstich  und  Tambourin  gez- 
eichnet  von  einer  Hamburgerin.  1822,  1824,  1827  und  1828.  Mit  zus.  66 
Taf.  in  Kpfst.    Qu.-fol.  Hamburg. 

1589 —  Sammlung  von  Spitzenmustern  nach  Originalen  des  XIV.,  XV.  und  XVI. 
Jahrhunderts.    Berlin,  Ernst  Wasmuth,  1882. 

1590 —  Samplers  of  our  Lovely  Ancestresses.  Booh  Buyer,  V.  22,  pp.  216-220. 
April,  1901. 

1591 —  Saunier,  Charles — Broderies  et  Dentelles,  L'Art  decoratif,  August,  189.1, 
Paris. 

1592 —  Saward,  Blanche  C. — Church  Festival  Decorations,  and  papers  on  fancy 
and  art  work  in  The  Bazaar,  Artistic  Amusements,  The  Girl's  Own 
Paper. 

1593 —  Scailquin — Enquete  scolaire  sur  l'enseignement  professionnel  et  litteraire 
donne  dans  les  ateliers  d'apprentissage  et  les  ecoles  dentellieres.  Brus- 
sels, 1884. 

1594 —  Scantlebury,  E.  E. — Old  and  Bare  Samplers.  House  Beautiful,  V.  32,  pp. 
138-139,  October,  1912. 

1595 —  Schaarschmidt,  M. — Ornamentik  der  Gegenwart.  Plauen,  n.d.  One  vol., 
oblong  folio,  original  boards.    24  plates  with  2,  3  or  4  designs  in  colors. 

1596 —  Schartzemberger,  Johan — 

Ain  New  Formbuchlin  bin  ich  gnandt 
Allen  Kiinstlern  noch  vnbekandt 
Sih  mich.  lieber  Kauffer  recht  an 
Findst  drefflich,  in  dieser  Kunffstan, 
Schon  gschnierlet  gebdglet,  auf  glade, 
Und  gold  auch  schon  vos  premen  stadt. 
Es  gibt  dir  ain  prem  umb  ain  Kleydt. 
Wenn  mans  recht  aussainander  schneydt 
Das  kanst  schneyden  auss  der  Ellen 
Von  Samat  Seyden  wie  mans  wolle, 
Ich  mag  braucht  wern  in  allem  landt, 
Wenn  man  mich  ersucht  mit  verstandt. 
One  volume  petit  in-8°  oblong.   Le  titre  ci-dessus  est  au  millieu  de  la  page 


358 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


dans  un  rectangle  blanc  entoure  en  haut  et  sur  les  cotes  de  rinceaux.  On 
remarque  en  haut  a  gauche  les  armes  d'Autriche,  a  droite  celles  d'Espag- 
ne.  En  bas  trois  compartiments  formes  par  des  arcs  surbaisses  repo- 
sant  snr  des  colonnes.  Dans  celni  de  gauche,  nne  femme  travaillant  a  nn 
petit  metier  de  basse  lisse,  dans  celni  dn  milieu  nn  homme  brodant,  dans 
celni  de  droite  denx  femmes  travaillant  a  raiguille.  Tont  l'exemplaire 
est  compose  de  planches  on  le  dessin  est  en  blanc,  s'enlevant  snr  nn  fond 
rouge  brique.  Le  texte,  les  explications  et  la  notice  sont  imp  rimes  en 
noir.  Gedruckt  in  der  Keiserlichen  Eeichstatt  Augsburg  durch  Johan 
Schartzemberger  Formschneyder  1534.  20  feuillets  non  cotes  et  38  plan- 
ches de  broderies.    Graceful  arabesque  borders.    Bibliotheque  Nationale. 

1597 —  Schinnerer,  L. — Lehrgange  fur  Weisstickerei  und  Knupfarbeit  nebst  ein- 
em  Anhang  stilvoller  Handarbeiten.  Stuttgart,  Deutsche  Verlags  An- 
stalt,  1893. 

1598 —  Schirek,  Carl — Zur  Geschichte  der  Spitzenerzeugung  in  Mahren.  Mittheil. 
des  Mahrisclien  Gewerbe  Museums  in  Briinn,  1895,  No.  7. 

1599 —  School  of  Art  Needlework,  South  Kensington — Cat.  of  special  exhib.  of 
Needlework.  8vo.  Lond.,  1881.  S.K.  M. 

1600 —  Schorn,  0.  von — Die  Spitzen  geschichtliches  und  technisches.  Kunst 
und  gewerbe,  Vol.  VIII.,  p.  331.    4to.   Niirnberg,  1874.   S.  K.  M. 

1601 —  Schramm,  E.  K. — Die  alte  Tondernsche  Spitzenindustrie.  Daheim,  April 
15, 1905,  Leipzig. 

1602 —  Schroedter,  A. — Neue  Muster  fur  Schnur  Stickerei,  4to.  Frankfurt, 
n.d.    S.  K.  M. 

1603 —  Schultz,  C.  F. — Sammlung  der  "Wertvollstern  Spitzen  Ostreichischer  Par- 
amento.    Plauen,  C.  F.  Schnltz  &  Co.,  1907. 

1604,  Schultz,  H. — Muster-Sammlung  alter  Leinen-stickerei.  Sm.  4to.  Leipzig. 
1887.   S.  K.  M. 

1605—  Schiitte,  Marie— Alte  Spitzen.   Berlin,  E.  C.  Schmidt  &  Co.,  1914. 

1606 —  Schiitte,  Marie — Alte  Spitzen,  am  Anlass  der  Spitzenausstellung  im  staed- 
tischen  Kunstgewerbe  Museum  zu  Leipzig  1911  herausgegeben.  Three 
large  portfolios  with  superb  plates. 

1607—  Scott,  Anna  Dike— The  A.  D.  Scott  Collection  of  Old  Lace,  a  Catalogue. 
Boston,  Thomas  Todd,  1905. 

1608—  Scott,  E.— Flowers  in  Point  Lace.  Pub.  by  Wm.  Barnard,  obi.  4to. 
Lond.,  (1873).    S.  K.  M. 

1609—  Scott,  Gladys  Annie,  at  Londonderry — Projets  de  dentelles  modernes. 
Art  applique,  2e  annee,  Paris. 

1610—  Search  for  Old  Lace  in  Venice,  A — The  Catholic  World,  March,  1876,  New 
York. 

1611 —  Sebillot,  Paul — Legendes  et  curiosites  des  metiers — Les  Dentellieres.  Paris, 
Ern.   Flammarion,  n.d. 

1612—  Sedeyn,  Emile— La  Dentelle  Francaise  au  Musee  Galliera.  L'Art  decoratif, 
May,  1904,  Paris. 

1613 —  Sedgwick,  Miss — A  series  of  upwards  of  160  original  pen  and  ink  draw- 
ings of  designs  for  lace,  in  various  styles,  1828, 


BIBLIOGRAPHY 


359 


1614 —  Seemann,  E.  U. — Em  new  Modelbiich,  etc.  durch  Heinrich  Steyner.  Augs- 
burg, 1534 — Facsimile  edition,  Leipzig,  E.  U.  Seemann,  1889. 

 Seemann  Beproductions — See  Nos.    1614,  1714. 

1615 —  Seguin,  J. — La  Dentelle,  histoire,  description,  fabrication,  bibliographic 
"Woodcuts  and  50  Phototypographic  plates,  fol.  Paris,  1875.    S.  K.  M. 

1616 —  Seguy,  E.  A. — Ornamentation  for  Textiles.  Paris,  n.d.  One  vol.  folio, 
original  boards.   20  plates  in  black  and  colors,  with  4,  6,  8  or  9  designs. 

1617 —  Seigfried,  L.  M. — Braids  for  Lace-Making.  Harper's  Bazaar,  V.  33,  pp. 
2262-2263,  Dec.  29,  1900. 

1618 —  Seigfried,  L.  M. — Lace-making.  Harper's  Bazaar,  V.  35,  pp.  176-177, 
June,  1901. 

1619 —  Seigfried,  L.  M. — Lace-making  as  an  Art.  Harper's  Bazaar,  V.  33,  pp. 
1403-1407;  V.  34,  pp.  246-247;  pp.  1002-1003,  Sept.  29,  1900,  Jan.  26, 
1901,  Apr.  13,  1901. 

1620—  Seigfried,  L.  M.— Lace  Work.  Harper's  Bazaar,  V.  38,  pp.  814-816,  Aug- 
ust, 1904. 

1621 —  Seillac,  Leon  de — La  Greve  des  Tullistes  de  Calais.  Musee  social,  No.  4, 
1901,  Paris. 

1622 —  Selmersheim,  Mme.  Pierre,  at  Paris — Cols  et  emplacements  en  dentelle  et 
broderie.    Art  .applique,  Ire  annee,  Paris. 

1623 —  Senneville,  P. — Patrons  de  broderies.  Gazette  des  Beaux-Arts,  1873, 
Paris. 

1624 —  Sera,  Domenico  da — Libbretto  novellamete  coposto  p.  maestro  Domenico 
da  Sera  detto  il  Franciosino :  dove  si  appara  et  insegna  a  tutte  le  nobili  et 
leggiadre  giovanette  di  lavorare  di  ogni  sorte  di  punti :  Cusire,  reccamare, 
et  ultimatamete  far  tutte  qlle  vaghe  et  belle  opere :  che  si  appartegono  alle 
vertuose  et  lode  voli  f anciulle :  et  quai  >se  diletta  no  di  far  con  le  sue  mani 
alcuna  gentilezza :  et  oltre  dicio  il  detto  libretto  e  molto  utile  a  gli  tessadri ; 
che  sogliono  lavorare  di  seta.  Stampato  in  Leone,  MD  et  XXXII,  del 
mese  Aprile.  In-4°  gothique.  Ce  titre  est  inscrit  dans  le  milieu  de  la 
page,  voir  le  n°  ci-dessus  pour  la  description  des  gravures  sur  bois  qui 
ornent  ce  titre.  Ce  sont  identiquement  les  memes.  Verso,  Pavis  au  lec- 
teur  au-dessous  duquel  on  voit  trois  petites  gravures  sur  bois.  Celle  de 
gauche  represente  un  carre  dans  lequel  on  voit  une  rose,  celle  de  droite  un 
carre  dans  lequel  on  voit  un  oeillet  de  poete.  Celle  du  milieu  est  un  ecus- 
son  avec  une  croix  et  le  monogramme  de  Dominique  de  Sera.  Au  verso 
d'une  page,  une  ballade  de  28  vers  avec  le  refrain:  A  gens  qui  besongnent 
de  Paiguille.  Au-dessous  de  la  Ballade,  la  devise  :  Mieulx  que  jamais.  Et 
au-dessous:  Imprime  a  Lyon,  L'an  de  grace  mil  cinq  cens  trente  et  deux, 
le  xij  jour  du  mois  d'auril.  Domenicus  de  Celle  fecit.  40  planches  de 
broderies.  Edition  inconnue  d'un  ouvrage  inflniment  rare,  dont  Brunet 
n'indique  qu'une  edition  de  1583  avec  un  titre  en  Francais  cite  par  Du  Ver- 
dier.   Vente  Benedetto  Maglione,  Paris,  1894. 

1625 —  Sera,  D.  de — Le  livre  de  Lingerie,  compose  par  Maistre  Dominique  de 
Sera,  Italien,  enseignant  le  noble  &  gentil  art  de  Pesguille,  pour  besong- 
ner  en  tous  points :  utile  &  profitable  a  toutes  Dames  &  Damoyselles,  pour 
passer  le  temps,  &  euiter  oysivete.    Nouvellement  augmente,  &  enrichi?  de 


360 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


plusieurs  excelents  &  divers  patrons,  tant  du  point  coupe,  raiseau,  que 
passement,  de  1 'invention  de  M.  Jean  Cousin,  Peintre  a  Paris.  A  Paris. 
Chez  Hierosme  de  Marnef,  &  la  veufve  de  Guillaume  Cauellat,  au  mont 
S.  Hilaire  a  l'enseigne  du  Pelican.  1584.  Avec  privilege  du  Roy.  In  the 
Cat.  d'Estrees,  No.  8848,  is  Livre  de  Pourtraicture  de  Jean  Cousin. 
Paris,  1637,  in  4  fig.  4to,  28  fL,  51  plates  of  mediaeval  design.  Frontis- 
piece, three  women  and  a  child  at  work,  on  each  side  of  the  title  a  man 
and  a  woman  at  work  under  a  trif  oliated  canopy.  He  gives  at  least  eighty 
designs  for  the  use  and  singular  profit  of  many,  4 'homines  tant  que  fem- 
mes."  Below,  "Finis  coronat  opus."  Then  follows  a  "Balade"  of  28 
lines.  On  the  last  page,  the  impresa  of  Cavellat,  a  pelican  in  its  piety, 
"Mors  in  me  vita  in  me."   Bib.  de  1 'Arsenal. 

1626 —  Sera,  D  de. — Opera  nouva,  doue  si  insegna  a  tutte  le  nobili  et  leggiadre 
giovanette  di  lavorara  di  ogni  sorte,  di  punti,  cusire,  reccamere,  .  .  . 
Vinet.  M.  Pagan  et  Gr.  da  Fontaneto  di  Monferrta,  1543.  4°.  Title  and 
38  cuts. 

1627 —  Sera,  D.  de — Opera  nova,  etc,    1543.    Ongania  Reproduction  of  No.  1626. 

1628 —  Sera,  Domenico  da — Fede  Opera  Noua  composta  per  Domenica  da  Sera, 
detto  il  Franciosino:  dove  si  insegna  a  tutte  le  nobili  et  leggiadre  gio- 
uanette  di  lauorare  di  ogni  sorte  di  punti :  Cusire,  Recamare,  et  far  tutte 
qlle  belle  opere,  che  si  appartengono  alle  virtuose  f anciulle :  e  qual  si  di- 
lettano  di  far  co  le  sue  mani  alcuna  gentillezza,  et  canchora,  molto  vtile  a 
gli  tessadri  che  fogliono  lauorara  di  seta,  stampato  in  Venegia  per  Matio 
Pagan,  sta  in  Fregeria  e  Gulielmo  da  Fontaneto  di  Monferrato 
MDXXXXVI.  Petit  in-4°.  Ce  titre  est  inscrit  sur  une  draperie  decoree 
en  bas  par  une  bordure  de  petits  glands  et  fixee  en  haut  par  trois  noeuds 
a  un  encadrement  forme  de  rinceaux,  en  haut  duquel  on  voit  une  petite 
figure  de  femme  representant  la  Foi,  agenouillee  de  profil  a  gauche  et  te- 
nant des  deux  mains  devant  elle  un  calice  surmonte  d'une  hostie.  Sur  les 
cotes  des  petits  amours  debout  ou  assis  sur  les  rinceaux.  Dans  le  bas  une 
tablette  rectangulaire.  Sur  cette  tablette  on  voit  a  droite  une  femme  trav- 
aillant  a  un  metier  de  basse  lisse.  A  gauche  une  autre  femme  assise, 
ayant  un  ouvrage  de  broderie  sur  ses  genoux  et  mesurant  avec  un  compas, 
un  modele  que  lui  presente  une  femme  debout  devant  elle.  Au  haut  de  ce 
titre,  au-dessus  de  1 'encadrement  au  milieu  le  mot  Fede.  En  resume  24 
pages  dont  46  planches  de  broderies.  Domenico  da  Sera,  publia  des  1532 
a  Lyon  un  recueil  de  patrons  de  dentelles.  Vente  Destailleurs,  n°  1623 
du  catalogue.  II  y  aurait  une  premiere  edition  en  1543.  Voir  catalogue 
Pirovano,  Rome,  1901.    Vente  Destailleurs,  1895. 

1629 —  Sera,  Domenico,  da — Opera  noua  composta  per  Domenico  da  Sera  detto  il 
Franciosino :  doue  si  insegna  a  tutte  le  nobili  &  leggiadre  giuanette  di 
lauorare  di  ogni  sorte  di  puti:  Cusire:  Recamare,  &  jar  tutte  qlle  belle 
opere :  che  si  appartengono  alle  virtuose  f anciulle  e  quarsi  dilettano  di  far 
co  le  sue  mani  alcuna  gentilezza  &  e  anchora  molto  vtile  >a  gli  tessadri  che 
sogliono  lavorare  di  seta.  Stampato  in  Vinegia  per  Matio  Pagan  sta  in 
frezeria  e  Grulielmo  da  Fontaneto  di  Monferrato.  M.D.XXXXVI.  4°. — 
leaves.    Small,  45  plates.    Reprinted  by  Ongania  in  1879. 


BIBLIOGRAPHY 


361 


1630 —  Serena — Opera  nova  di  recami  (punti  in  chiaro  e  punti  a  filo).  1564. 

1631 —  Serena — Opera  nova  di  recami  nello  quale  si  ritrova  varii  &  diverse  sorte 
di  punta  in  stuora  &  punti  a  filo.    1564.    Ongania  Eeproduction,  1879. 

1632—  Sharp,  Mary—Point  and  Pillow  Lace.  London,  J.  Murray,  1905.  B.  M. 
See  S.,  A.  M. 

1633 —  Shepard-WolfT,  Hanna  MacLaren — Photographs  of  lace  handkerchiefs 
made  by  Mrs.  Shepard-WolfT,  who  spent  3,000  hours  in  the  work  finished 
in  1910.    16x16  inches,  mounted. 

1634—  Sherren,  E.  F. — The  Art  of  Torser.  1849. 

1635 —  Shoninger  Bros. — Government  inquiry  of  alleged  undervaluations  in  lace 
cases  being  made.   N.  Y.  Times,  May  28,  VII,  6 :6. 

1636 —  Shorleyker,  Richard — Here  foloweth  certaine  patternes  of  Cut-workes : 
newly  invented  and  never  published  before.  Also  sundry  sorts  of  spots, 
as  flowers,  Birdes  and  Fishes  &c.  and  will  fitly  serve  to  be  wrought,  some 
with  Gould,  some  with  silke,  and  some  with  crewell,  in  coullers:  or  other- 
wise at  your  pleasure.  And  never  but  once  published  before.  London 
Printed  in  Sho-lane  at  the  signe  of  the  Faulcon,  by  Eich.  Shorleyker.  4°. 
Title,  24  leaves,  cuts;  1  p.  conclusion.   Musee  Eoyale,  Brussels. 

1637 —  Shorleyker,  Richard — Here  followeth  certaine  patternes  of  Cut-workes; 
and  but  once  Printed  before.  Also  sundry  sorts  of  Spots,  as  Flowers, 
Birds,  and  Fishes,  &c,  and  will  fitly  serve  to  be  wrought,  some  with  Gould, 
some  with  Silke,  and  some  with  Gewell  or  otherwise  at  your  pleasure. 
London:  Printed  in  Shoe-lane,  at  the  signe  of  the  Faulcon,  by  Eich- 
ard  Shorleyker.  1632.  Obi.  4to.  The  copy  in  the  Bodleian  is  probably  due 
fo  the  above.  It  has  no  date  and  varies  in  title:  " Newly  invented  and 
never  published  before,"  with  1 ' crewell  in  coullers,"  etc;  and  " Never  but 
once  published  before."  Printed  by  Eichard  Shoreleyker.  33  patterns 
and  title.  In  the  possession  of  Mrs.  Marryat,  "Maes  y  dderwen." — Bib. 
Bodleian. 

1638 —  Shorleyker,  Eichard — A  Schole-House  for  the  Needle :  Teaching  by  sun- 
dry sortes  of  patterns  and  examples  of  different  kindes,  how  to  compose 
many  f  aire  workes :  with  an  addition,  newly  invented :  placed  in  the  be- 
ginning of  the  second  booke,  which  being  set  in  order  and  form,  accord- 
ing to  the  skill  &  understanding  of  the  workwoman ;  will  no  doubt  yeeld 
profit  unto  such  [as]  live  by  the  Needle,  and  give  good  content  to  adorne 
the  worthy.  London  Printed  in  Sho-Lane  at  the  Faulcon  by  Eichard 
Shorleyker,  1624.  (On  the  second  title)  And  are  to  be  sould  by  John  Gres- 
mand  in  Paules-alley  at  the  sign  of  the  Gunne.  4°.  2  titles,  6  pp.  intro- 
duction, dialogue  in  verse,  32  leaves,  cuts.   Musee  Eoyale,  Brussels. 

1639 —  Shorleyker,  Eichard — A  Schole  Howse  for  the  Needle.  Teaching  by 
sundry  sortes  of  patterns  and  examples  of  different  kindes,  how  to  com- 
pose many  f aire  workes ;  which  being  set  in  order  and  forme  according  to 
the  skill  and  understanding  of  the  workwoman  will,  no  doubt  yield  profit 
unto  such  as  live  by  the  needle  and  give  good  content  to  adorne  the  worthy. 
London  printed  in  Shoe  Lane  at  the  "Faulcon"  by  Eichard  Shorleyker, 
1632.  To  the  Eeader.  Gentle  Eeader,  I  would  have  you  know  that  the  Diver- 
sities of  Examples  which  you  shall  find  in  this  ' '  Schoole-howse  for  the 


362 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


Needle' '  are  only  but  patternes  which  serve  but  to  helpe  and  inlarge  your 
invention.  But  for  the  disposing  of  them  into  forme  and  order  of  Workes 
that  I  leave  to  your  own  skill  and  understanding.  And  againe  for  your 
behoaf  e  I  have  in  the  end  of  this  booke  made  two  scales  or  checker  pat- 
ternes which  by  enlarging  or  contracting  into  greater  or  lesser  squares 
you  may  enlarge  or  make  lesser  any  of  the  saide  patternes  and  examples 
in  the  booke  or  any  other  whatever. 

1640 —  Shrimpton,  L. — How  to  Know  G-ood  Embroideries.  Country  Life.  V.  23, 
pp.  59-60,  January,  1913. 

1641 —  Sibmacher,  Johann  (Recueil  de  modeles  pour  le  broderies  et  la  tapis- 
serie)  sans  lieu  ni  date-li-4°  oblong,  cartonne.  Ce  volume,  incomplet  des 
2  premiers  et  du  dernier  feuillets  fait  partie  de  1 'edition  de  1597.  II  ren- 
ferme  encore  2  feuillets  de  texte  et  34  planches  de  modeles  difTerents  de 
ceux  donnes  dans  le  recueil  ci-apres.  Allemagne.  Foulc  Sale,  June,  1914, 
No.  371,  110  frs. 

1642 —  Sibmacher,  J. — Modelbuch  in  Kupfer  gemacht.  Nuremberg,  1601.  In-4°. 
Premiere  edition  de  cet  ouvrage.  Jean  Sibmacher  le  graveur  en  avait 
publie  deja  un  autre  en  1597.    Bibliotheque  Eoyale  de  Bruxelles. 

1643 —  Sibmacher,  J. — Modelbuch  in  Kupfer  gemacht,  etc.  (Copper-plate  en- 
gravings for  lace  latterns,  etc.,  19  plates  only.)  Obi.  4to.  Niirnberg, 
1601.    S.  K.  M. 

1644 —  Sibmacher,  J. — Modelbuch  in  Kupfer  gemacht  Niirmberg,  bei  Michel  Kuis- 
ner,  1601,  by  J.  Sibmacher.  The  Victoria  and  Albert  Museum  possesses  a 
copy  of  this  edition  in  a  contemporary  binding  of  leather,  stamped  with 
small  running  ornament,  a  central  arabesque,  and  the  words  Modelbuch — 
1601.    Brussels,  Bib.  Boy.— 8847. 

1645 —  Sibmacher,  Johann — Newes  Modelbuch  In  KupfTer  gemacht  darinen  aller- 
hand'arth  newer  model  von  dim  mittel,  vnd  dick  aufzgeschidener  arbeit 
auch  andern  kunstlichen  Nehwerck  zu  gebrauchen  mit  uleisz  Inn  driick  ver- 
fertigt.  Mit.  Eom.  Kay.  May  Freyheit.  Nurnberg,  MDCI  (1601). 
In-4°  oblong.  Ce  titre  est  dans  un  cartouche,  decore  de  mascarons,  de 
tetes  d'anges  ailes.  On  voit  en  haut  a  gauche  assise  sur  les  rinceaux  du 
cartouche,  une  femme  une  aiguille  a  la  main,  un  metier  tambour  sur  ses 
genoux.  A  droit  une  autre  femme  egalement  assise,  un  metier  reseau  sur 
ses  genoux.  En  bas  sur  une  petite  etiquette  collee  sur  la  page  on  lit :  Zu 
Nurmberg  Bey.  Balthaser  Laimoxen  zuerfragen.  Avertissement  au  lec- 
teur.  Au  bas  duquel  on  lit :  Johann  Sibmacher  Grradirer  und  Burger  das 
elbsten.  Rien  au  verso.  Page  non  cotee.  En  haut  de  la  page  dans  un 
cartouche  decore  a  droite  et  a  gauche  de  tetes  ailees,  4  vers  allemands.  Au- 
dessous  de  ce  cartouche  trois  femmes  dans  un  jardin.  Celle  du  milieu  est 
assise  au  pied  d'un  arbre  contre  lequel  elle  s'adosse.  Elle  travaille  a  un 
ouvrage  de  broderie.  Au-dessous  d'elle  sur  le  terrain  on  lit  le  mot  In- 
dustria.  Celle  de  droite  de  profil  a  gauche,  personine  l  'ignorance  comme 
l'indique  le  mot  ignavia,  qu'on  voit  a  ses  pieds.  La  troisieme  femme  de 
profil  a  droite  personnifie  la  sagesse,  et  on  lit  a  ses  pieds  le  mot.  sophia. 
Au-dessous  de  cette  gravure  on  lit  :  Cum  Privilegio  Ro.  Coas.  Majestatis. 
Johan  Sibmacher  Noriberg  fecit  et  excudit.     Aij,  dialogue  entre  l?indus- 


BIBLIOGRAPHY 


363 


trie,  1 'ignorance  et  la  sagesse.  Avertissement  au  lecteur.  Puis  commen- 
cent  les  broderies.  Chaque  page  en  contient  deux,  l'une  au-dessus  de 
Pautre.  58  planches.  En  resume,  un  litre,  un  frontispice,  huit  feuilles  de 
texte  et  58  planches  de  broderies.  Un  certain  nombre  de  ces  dessins  sont 
inspires  de  la  Corona  de  Vecellio.  Vente  Trass,  1866,  Vente  Destailleurs, 
1895. 

1646 —  Sibmacher,  Johann — Newes  Modelbuch  In  Kupf  er  gemacht,  darinnen  aller- 
hand  art  newer  Model  von  Dim  Mittel  vnd  Dick,  auszges  chnidener  arbeit 
auch  andern  Kunstlichen  Neh  werck  zu  gebrauchen,  mit  vleisz.  Inn  druck 
verfertig.  Mit.  Eom.  Kaij.  mai  j.  Freiheit.  Nurnberg,  MDCIIII  (1604). 
Meme  edition  que  celle  decrite  ci-dessus  avee  un  millesime  different  1604 
au  lieu  de  1601  et  en  plus  apres  le  titre  une  epitre  a  Marie  Elisabeth,  com- 
tesse  Palatine  du  Ehin,  Nuremberg,  le  3  mars  1601.  Vente  Piot,  1891. 
Stockholm.  Eoyal  Library.  In  the  same  library  is  a  work,  without  title- 
page  or  date,  for  "broderies  et  de  tous  autres  besongnant  a  1 'aiguille," 
by  Hieronymus  Cock,  containing,  with  designs  of  every  description,  a  few 
patterns  for  Spanish  point  of  great  beauty.  Obi.  4to,  58  plates  carefully 
engraved  upon  capper.  Title-page  surrounded  by  a  richly  ornamented 
border,  with  two  figures,  one  sewing,  the  other  at  embroidery;  also  a  sec- 
ond ornamented  frontispiece,  J.  Sibmacher,  citizen  and  engraver.  Nurem- 
berg, German  Museum. 

1647 —  Sibmacher,  J. — Newes  Modelbuch  in  Kupfer  gemacht,  etc.  (Copper-plate 
engravings  for  lace  patterns,  etc.,  37  plates  only.)  Obi.  4to.  Nurnberg, 
1604.  Facsimile  reprint  (two  titles  and  58  designs).  Obi.  4to.  Edited 
by  Dr.  J.  D.  Greorgens,  Berlin,  1874.  Facsimile  reprint  (two  titles  and  36 
designs.)    Berlin,  1881.    S.  K.  M. 

1648 —  Sibmacher,  Johann — Newes  Modelbuch  in  kupfTer  gemacht.  Darnen  al- 
lerhanf  Arth  Newer  Model  von  Dun,  Mittel  und  Dick  ausgeschnidener  Ar- 
beit auch  andern  Kunstlichen  nehwerck  zu  gebrauchen,  mit  vleisz  in  Druck 
verfertigt  Nurnberg,  1602.  In-4°,  oblong  cartonne.  Ce  volume  se  com- 
pose du  titre  grave  ci-dessus,  contenu  dans  un  grand  cartouche,  de  2 
feuillets  imprimes  de  dedicace  a  la  Princesse  Marie  Elizabeth,  pfalsgrave 
du  Ehin,  d'une  figure  ou  se  voient  dans  un  jardin  les  3  personnages  So- 
phia, Industria  et  Ignavia  qui  ont  ensemble  un  entretien  fort  interessant, 
qui  occupe  les  5  feuillets  suivants.  Enfin  apres  un  faux  titre  viennent  les 
planches  de  modeles  de  broderie  au  nombre  de  57  (sur  58,  le  dernier  man- 
que) ;  chaque  planche  off  rant  2  ou  plusieurs  dessins.  Foulc  sale,  June, 
1914,  No.  372,  450  frs. 

1649 —  Sibmacher,  Johann — [Another  edition.]  Jn  Kupffer  gemacht  .  .  .  Num- 
berg,  MDCII.  Johann  Sibmacher.  Mit.  Eom :  Kaij  :  Maij  Freyheit.  B.  K.  M. 

1650 —  Sibmacher,  Johann — Diese  nachfolgende  Model  Kdnnen  auff  mancherley 
Arth  genahet  werden,  Als  mit  der  ZoprTnath,  Grlatt,  oder  Creutz  vnd  Ju- 
denstich,  auch  auff  der  Laden  zu  wircken,  vnd  sonderlich  zu  dunn  auss- 
gesschnittener  Arbeit,  wie  es  etliche  nennen,  furnemlich  zu  gebrauchen, 
&c.  This  titlepage  also  is  found  with  the  35  plates  of  the  1597  edition  de- 
scribed above.    "Schon  Neues  Modelbuch,"  etc. 

1651 —  Sibmacher,  J. — Schon  Neues  Modelbuch  von  allerley  lustigen  Modeln  nach- 


364 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


zunehen  Zuwurcken  vn  Zusticke:  gemacht  in  Jar  Oh:  1597.  Zu  Nurm- 
berg  bey  Balthaser  Caimoxen  Zuerfragen.  Io.  Sibmacher  f.  4°.  Engraved 
title  and  35  plates.    The  titlepage  has  the  monogram.    B.  K.  M. 

1652 —  Sibmacher,  J. — Schon  neues  Modelbuch  von  allerley  lustigen  Modem  nac- 
zunehen  zn  wiircken  nn  zu  sticke,  (Copper-plate  engravings  for  lace  pat- 
terns, etc.,  20  plates  only).    Obi.  4to.  Nurnberg,  1597.    S.  K.  M. 

1653 —  Sibmacher,  J. — Schon  nenes  Modelbuch,  etc.  1597.  Facsimile  reproduc- 
tion of  the  above  complete,  35  plates  and  engraved  title.  Obi.  4to.  Wien, 
1866. 

1654 —  Sibmacher — Osterreichisches  Museum  (K.  K.)  Hans  Sibmacher 's  Stick 
— und  Spitzenmusterbuch,  1597.  Facsimile,  3d  edition,  Vienna,  Carl  Ger- 
olds  Sohn,  1882. 

1655 —  Sibmacher — Stick-Muster,  nach  Motiven  aus  dem  16  ten  Jahr  hundert 
von  Hans  S.  .  .  .  herausgegeben  und  in  Farben  gesetzt  von  Theodor 
Wendler.  4to.  Berlin,  1882.    S.  K.  M.    See  1654. 

1656 —  Sibmacher — Another  Facsimile  reproduction  of  No.  1651.  Obi.  4to.  Ber- 
lin, 1885.    S.  K.  M.    See  1652. 

1657 —  Sibmacher,  Joh. — Stich  und  Spitzen-Musterbuch.  1597;  reprinted  1887. 
 Sibmacher — See  Laimoxen. 

1659 —  Sigismund — Schon  newes  Modelbuch  von  hundert  und  achtzig  shonen 
Kunstreichen  und  gerechten  Model,  teusche  und  welsche  auff  mancherley 
Art  konnen  geneet  werden,  etc.  Franckfurt  am  M'ayn,  in  Verlegung  Sig- 
ismund— 1607.  Petit  in  4°  derelie.  Eecueil  d'un  titre  et  50  planches  de 
modeles  de  broderies  et  dentelles.  Le  titre  est  legerement  colorie  et  orne 
d?une  gravure  sur  bois  representant  l'interieur  d'un  atelier  ou  des  femmes 
font  de  la  broderie.  Le  dernier  feuillet  est  coupe  vers  le  milieu.  Foulc 
Sale,  June,  1914,  No.  394,  95  frs. 

1660 —  Sill j an,  Elise — Norwegian  Lace  and  Embroidery. 

1661 —  Singleton,  Esther — Lace  and  Lace-making.  The  Mentor,  May,  1917,  New 
York. 

1662 —  Sketchley,  E.E.D. — Buckinghamshire  Lace.  Art  Journal,  June,  1905,  pp. 
177-181. 

1663 —  Smith,  K.  L. — Eevival  of  Fireside  Industries.  New  England  Magazine, 
n.s.,  V.  29,  pp.  442-449,  December,  1903. 

1664 —  Smith,  L.  A. — Lace-makers  of  Belgium.  Current  Literature.  V.  31,  p.  723, 
December,  1901. 

1665 —  Sociedad  Espahola  de  Amigos  del  Arte.  Madrid — Artes  Grraficas  "  Ma- 
ten'  9  Paseo  del  Prado,  34,  1915. 

1666 —  Societe  de  Part  ancien  en  Belgique — Broderies,  etc.  Plates  with  letter- 
press.   Fol.  Bruges.  (1883).    S.  K.  M. 

1667 —  Somascho,  Gr.  A. — Nova  Esposizione  de  Eecami  et  Dessegni.  Alia  Molto 
Illustre  Signora  Ippolita  Manfredi.  In  V enetia.  Appresso  Giacomo  An- 
tonio Somascho.  (c.  1602.)    4°.    14  leaves,  engraved.    V.  &  A.  M. 

1668 —  Somascho,  Giac.  Ant. — Nova  esposizione  de  Eecami  et  Dessegni.  In  Vene- 
tia.  Facsimile. 

1669 —  Sombart,  W. — L 'Industrie  a  domicile.  (Extrait  du  Handworterbuch  der 
Staatswissenschaften.) 


BIBLIOGRAPHY 


365 


1670 —  Something  about  Lace.    The  Catholic  World,  April,  1873,  New  York. 

1671 —  Soulier,  Gustave — La  Broderie  et  la  Dentelle  a  1 'Exposition  (Paris,  1900). 
Art  et  Decoration,  1901,  Paris. 

1672 —  Soulier,  Gustave — Dentelles.    L' Art  decor  atif,  March,  1902,  Paris. 

1673 —  South  Kensington  Museum — Catalogue. 

1674 —  South  Kensington  Mus. — Cat.  of  the  special  exhib.  of  works  of  art  on 
loan,  1862.    (Tissues,  etc.  p.  249,  by  Eev.  D.  Bock.)    8vo.   London,  1863. 

1675 —  S.  K.  Museum  Cat,  of  the  special  loan  exhib.  of  Decorative  Art  Needle- 
work made  before  1800.    Photos.    4to.    Lond.  1874. 

1676 —  S.  K.  Museum. — Classified  list  of  photographs  of  works  of  decorative  art 
in  the  South  Kensington  Museum,  and  other  collections.  (Lace,  p.  288.) 
8vo,  London.  1887. 

1677 —  South  Kensington  Museum — Kendrick's  Catalogue  of  Samplers  in  the 
South  Kensington  Museum. 

1678 —  South  Kensington  Museum — List  of  Books  on  Lace:  Victoria  and  Albert 
Museum.    85  pp.    London,  1888.    8vo.    B.  M. 

1679 —  South  Kensington  Museum — List  of  Samplers  in  the  Victoria  and  Albert 
Museum.    (Board  of  Education,  S.  Kens.)    London,  1906.  8vo. 

1680 —  South  Kensington  Museum — Photos,  of  embroidery,  etc.  A  series,  con- 
sisting of  78  specimens,  exhibited  at  the  S.  K.  Mus.  during  the  special  loan 
exhibition  of  Decorative  Art  Needlework,  1873. 

1681 —  South  Kensington  Museum — Photos.  Mechlin  lace,  18th  century  in  S.  K. 
Mus.  10  photos.  Eussian  lace  belonging  to  the  Duchess  of  Edinburgh. 
16  photos. 

1682 —  South  Kensington  Museum — Portfolios  of  Industrial  Art.  Colored  illus. 
fol.    Lond.    1881,  etc. 

1683 —  South  Kensington  Museum — The  Industrial  Arts.  (Lace,  p.  257).  Illus. 
(S.  K.  Mus.  Art  Handbooks.)    8vo.    London.  1876. 

1684 —  South  Kensington  Museum,  London,  Supplemental  Descriptive  Catalogue 
of  Specimens  of  Lace    46  pages,  1891.    B.  M. 

1685 —  Sparrow,  W.  S. — Leek  School  of  Embroidery  and  its  Work.  Magazine  of 
Art.    V.  26,  pp.  550-554,  October,  1902. 

1686 —  Specchio,  II — Di  pensiere,  delle  belle  donne  dove  si  vede  varie  sorti 
di  punti,  cioe,  punti  tagliati,  gropposi,  &c.  Venetia,  1544.  In  4to.  Quoted 
in  Cat.  Cappi,  of  Bologna,  1829. 

1687 —  Specifications  relating  to  lace-making,  etc.,  Abridgements  of — London, 
1879. 

1688 —  Specimen  of  Point  Lace  made  at  the  Convent  of  Poor  Clares,  Kenmare, 
County  Kerry.  The  Art  Workers'  Quarterly,  July,  1902,  London. 

1689 —  Spellewerk — Blaetter  fur  Kunstgewerbe,  1878,  Vienna. 

1690 —  Spitze,  die  historische  und  neuzeitliche — 29  Lichtdrucktafeln.  Plauen, 
1910. 

1691 —  Spitzen,  Alte — 30  Blatt  Photographien  nach  Originalen,  Venezianische, 
Guipure — ,  Valenciennes — und  a.  Spitzen.  Fol.  (Paris)  Nachbildgn.  her- 
vorragend  schoner  Stiicke. 

1692 —  Spitzenfacher.    Illustrirte  Zeitung,  March  23,  1878,  Leipzig. 


366  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

1693 —  Spitzenkragen  im  Charakter  der  venetianischen  Eelief-Spitzen,  entworfen 
von  Prof.  J.  Storck,  ausgefuhrt  von  Jos.  Stramitzer  in  Wien.  Blaetter 
fur  Kunstgewerbe,  1879,  Vienna. 

1694 —  Spitzenkloppeln, — Vom — Daheim,  1883,  No.  9,  Leipzig. 

1695 —  Spitzenmappe.  Chr.  Stoll,  Plan  en,  1909.  72  pages.  (Collection  of  Kur- 
sheedt  Mfg.  Co.,  N.  Y.) 

1696 —  Spons 's  Encyclopaedia  of  the  Industrial  Arts,  Manufactures  and  Commer- 
cial Products  —  (Lace,  Division  IV.,  p.  1200.)  8vo.  London,  1879-80. 
S.  K.  M. 

1697 —  StafTe,  Baronne — Les  Hochets  feminins.  La  Dentelle,  etc.  Paris  Ern. 
Flammarion,  n.d. 

1698 —  Staines,  F.  J. — Nottingham  Lace  Edgings.  The  Artist,  March,  1900.  Lon- 
don. 

1699 —  Stanley,  K. — Needlework  and  Cutting;  being  hints,  etc.,  for  the  use  of 
Teachers.    (Illus.)    8vo.    Lond.  1883.    S.  K.  M. 

1700 —  Stassof,  W. — L'Ornement  National  Eusse.  Broderies,  Tissus,  Dentelles. 
(Coloured  illus.,  text  in  Eussian  and  French.)  Fol.  St.  Petersburg,  1872. 
S.  K.  M. 

1701 —  Statutender  Vereeniging  uDe  Nederlandsche  KantwerkschooP '  te's  Grav- 
enhagen,  gesticht  door  Jhr.  Ernest  van  Loon. 

1702—  Staub,  George— Pattern  Book.   St.  Gall,  1593. 

1703 —  Stegmann,H.  E.  L. — Stickerein,  Spitzen  und  Pasamentierarbeiten.  Nur- 
emberg, 1901. 

1704 —  Sterling,  A. — Antique  and  Modern  French  Lace.  Chautauquan,  V.  34,  pp. 
580-584,  March,  1902. 

1705 —  Sterling,  A. — Cut-works,  New  and  Old.  Chautauquan,  V.  35,  pp.  496-501, 
August,  1902. 

1706 —  Sterling,  Ada — Dilettanteism  of  Fine  Lace.  New  York,  ''Evening  Post/' 
Saturday,  Feb.  9,  1901. 

1707 —  Sterling,  A. — French  Lace,  Antique  and  Modern.  Chautauquan,  V.  34,  p. 
580. 

1708 —  Sterling,  Ada — Italian  Laces  Old  and  New.  Chautauquan,  V.  34,  pp.  16-21. 

1709 —  Sterling,  A. — Making  of  Venice  Lace.   Chautauquan,  V.  34,  p.  243-246. 

1710 —  Sterling,  A. — Plea  for  American  Needlecraft.  Atlantic,  V.  86,  pp.  557- 
562,  October,  1900,  same  cond.  Current  Literature,  V.  29,  pp.  607-608, 
November,  1900. 

1711 —  Stevens,  Amy,  at  Battersea — Dessin  pour  ombrelle  en  dentelle  de  Carrick- 
macross.    Art  applique  Ire  annee,  Paris. 

1712 —  Stewart,  F.  and  M.  E.  Bradley — Decorations  for  Towels.  Good  House- 
keeping, V.  54,  pp.  98-102,  January,  1912. 

1713 —  Steyner,  H. — Ein  New  Modelbuch  auff  die  Welschen  monier.  Gedruckt  zu 
Augspurg  durch  Heinrich  Steyner.  M.  D.  XXXIIII.  4°.  Title  and  55 
cuts. 

1714 —  Steyner,  H. — Ein  New  Modelbuch,  etc.,  1534.  Seeman  Eeproduction  of  No. 
1713.    Leipzig.    1889.    See  1614. 

1715 —  Stick- Album  des  "Berliner  Modenblatt.,,    Sammlung   farbiger  Muster- 


BIBLIOGRAPHY 


367 


blatter  fur  Handarbeiten.  (Patterns  for  needlework.)  Fol.  Berlin, 
(1880.) 

1716 —  Stilarten  der  Spitzen,  in  verschiedener  Auffassung  und  neuer  Combination. 
n.t.p.  Plauen,  C.  F.  Schultz  &  Co.,  1908  (!).  18  pages.  (Collection  of 
Kurscheedt  Mfg.  Co.,  N.  Y.) 

1717 —  Stocking,  Mary  E. — Hand-made  Laces.  Pratt  Institute  Monthly,  V.  8,  No. 
4,  February,  1900,  pp.  83-88. 

1718 —  Strange,  Edward  F. — Early  Pattern-Books  of  Lace,  Embroidery  and 
Needlework.    Transactions  of  the   Bibliographical   Society,  December, 

1904,  London. 

1719 —  Strange,  E.  F. — Needlework  at  the  Liverpool  School  of  Art.  Internation- 
al Studio,  V.  24,  pp.  147-149,  December,  1904. 

1720 —  Strassen,  Melchior  zur — Spitzen  des  16.  bis  19.  Jehrhunderts  aus  den 
sammlungen  des  Kunstgewerbe  Museums  zu  Leipzig.  Leipzig,  L.  W. 
Hiersemann,  1899. 

1721 —  Strassen,  zur — Spitzen,  Ornamentale  und  Kunstgewerbliche  Sammelmap- 
pe.  Series  4  &  5,  25  plates  each.  Hiersemann,  Leipzig,  1893-1894.  (Col- 
lection of  Kursheedt  Manufacturing  Co.) 

1722 —  Strauben,  Gr. — New  Model  Buch  darinnen  allerley  Grattung  schoner  Modem 
der  newen  aussgeschitnen  Arbeit  auff  Kragen,  Hempter,  Jakelet  und  der- 
gleichen  zu  newen,  so  zuvor  in  Teutschlandt  nicht  gesehen.  Allen  thugent- 
samen  Frawen  und  Jungkfrawen,  Natterinnen,  auch  alien  audern  so  lust 
zu  solcher  kunstlichen  Arbeit  haben,  sehr  dienstlich.  Getruckt  in  uerle- 
gung  George  Strauben,  von  S.  Gallem,  Anno  1593.  Printed  for  the  pub- 
lisher, Gr.  Strauben.  A  reprint  of  the  third  book  of  Vecellio's  Corona. 
V.  &  A.  M. 

1723 —  Stringher,  Vittorio — L'industria  dei  merletti  nelle  campagne,  Pp.  75. 
Rome,  Gr.  Bertero,  1893.   B.  M. 

1724 —  Studies  in  Modern  Lace  Making.  1898.  (Collection  of  Kursheedt  Manu- 
facturing Co.,  N.  Y.) 

1725 —  Sturgis,  Russell — A  study  of  the  Artists'  way  of  working.  New  York, 
Dodd,  Mead  and  Co.,  1905. 

1726 —  Sybil  Carter  Indian  Mission  and  Lace  Industry,  The — (New  York,  March, 

1905.  ) 

1727 —  Sylvia^ — Book  of  Macrame  Lace.  Containing  Illus.  of  many  new  and  orig- 
inal designs.   8vo.   London,  1883.  S.  K.  M.,  B.  M. 

1728 —  Szontagh,  A.  von — Die  Csetneker  Spitzen.   Plauen,  O.  Haebler,  1911. 

1729 —  T. — Ueber  Styl  in  der  Spitzen-Industrie.  Blaetter  fiir  Kunstgewerbe, 
1875,  Vienna. 

1730 —  Tabin,  B. — New  Kunstlichs  Modelbuch  Von  allerhand  artlichen  vn  gereeh- 
ten  Moledn  auff  der  Laden  zu  wircken,  oder  mit  der  zoppffnot.  Creutz 
vnd  Judenstich  vnd  anderer  gewonlicher  weif s  zu  machen :  alien  model- 
wurckerin,  Naderin,  vnnd  solcher  Modelarbeit  geflissenen  Weibsbildern 
schr  dienstlich  vnnd  zu  andern  mustern  an  leytlich  vnnd  verstandig.  Auff 
ein  newes  wider  getruckt  vnd  mit  vielen  newer  model  gemehret.  Mit 


368 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


Rom.  Keys  May.  Freyheit.  Bey.  B.  Tabin,  1582.  In-4°  oblong.  48  feuil- 
lets,  le  dernier  est  blanc.  Un  titre,  un  feuillet  contenant  des  vers  et  45 
planches  de  broderies,  imprimees  au  recto  seulement,  Musee  des  arts  et 
de  rindustrie  de  Dresde. 

1731 —  Tabin,  B. — New  Kunstlichs  Modelbuch,  von  allerhand  artlichen  vn  gerech- 
ten  Modem,  aufT  der  laden  zu  wircken,  oder  mit  der  ZopfTnot  Crentz  vnd 
Jndenstich  vnd  anderer  gewonlicher  weif  s  zn  machen :  Allen  model  wurck- 
erin,  Naderin  vnnd  solcher  modelarbeit  geflissenen  Weisbildern,  sehr 
dienstlich,  vnnd  zu  andern  mustern  and  leytlich  vnnd  verstandig.  Auff*  ein 
newes  wider  getruckt  vnd  mit  vielen  newer  model  gemehret.  Mit  Rom. 
Keys.  May.  Freyheit.  Bey.  B.  Tabin,  1588.  In-4°  oblong.  Titre  in- 
scrit  sur  une  double  tablette  occupant  le  haut  de  la  page  et  entouree  de  cuirs 
roules,  de  rinceaux,  de  fruits,  de  petits  genies.  En  bas  dans  une  chambre 
des  femmes  travaillant  a  1 'aiguille.  L'une  d'  elles  a  gauche,  de  profil  a 
droite,  son  chien  a  ses  pieds  montre  une  piece  d'etofre  a  une  femme  debout 
qui  se  penche  vers  elle.  Au  meme  plan  et  a  cote  une  femme  assise  vue  de 
dos.  Au  fond  deux  femmes  travaillant  pres  d'une  fenetre  ou  se  voit  un 
homme  accoude.  Gravure  sur  bois  de  Tobias  Stimmer.  A2,  page  encadree 
par  un  nielle  sur  bois.  Piece  de  vers  sur  deux  colonnes.  Verso  fin  de  la 
piece  de  vers.  En  resume  48  pages  dont  un  titre,  une  f euille  pour  les  vers 
et  une  page  blanche  a  la  fin.  45  planches  de  broderies  imprimees  au  recto 
seulement.    Bibliotheque  Nationale. 

1732 —  Tack — Discours  prononce  a  la  Chambre  des  Representants  le  2  avril,  1884. 

1733 —  Tagliente,  Antonio — Esempio  di  ricami.  Venice,  1528. 

1734 —  Tagliente,  Gr.  A. — Esemplario  Nuouo  Che  Insegna  A  Le  Donne  a  cuscire 
.  .  .  Stampato  in  Vinegia  per  Giouanantonio  et  i  Fratelli  da  Sabbio. 
MDXXXL    4°.  55  cuts,  etc.    B.  K.  M. 

1735 —  Tagliente,  Gr. — Esemplario  nuovo  che  insegna  a  le  Donne  a  cuscire,  a  rac- 
camare  et  a  disegnare  a  ciascuno  etc.  Vinegia,  1531.  (Facsimile  reprint, 
Roy.  8vo.   Ongania,  Venice,  1879.)   S.  K.  M.  Metro.  Mus. 

1736 —  Tagliente,  Giovanni  Antonio — Opera  nuova  che  insegna  alle  donne  a  cusire 
a  raccamare,  et  a  disegnar,  a  ciascuno  Et  La  ditta  opera  sara  di  molta  utilta 
ad  ogni  artista,  per  esser  il  disegno  ad  ognuno  necessario,  laqual  e  intitolato 
essempio  di  reccami.  Con  gratia  et  Privilegio,  MDXXVII.  Ce  titre  est 
en  haut  d'une  page  au  bas  de  laquelle  on  voit  quatre  compartiments,  deux 
en  haut,  deux  en  bas.  Dans  celui  d'en  haut  a  gauche,  deux  femmes  assises 
et  travaillant  a  Taiguille,  une  troisieme  femme  debout  a  gauche,  tenant 
un  panier  a  la  main.  Dans  le  compartiment  de  droite,  deux  femmes  as- 
sises et  travaillant  a  un  metier.  Dans  le  compartiment  du  bas  a  gauche, 
une  femme  montre  un  ouvrage  de  broderie  a  un  homme  coiffe  d'une 
toque  a  plumes.  Pres  d'eux  une  femme  assise.  Dans  le  compartiment  de 
droite,  une  femme  travaillant  a  un  metier.  Toute  cette  composition  y  com- 
pris  le  titre  est  entouree  d'une  trait  carre  et  d'un  filet.  Verso  Tin  homme 
barbu,  vetu  a  l'antique,  est  assis  de  profil  a  droite  sur  un  tertre.  II  tient 
des  deux  mains,  levees  devant  lui  un  sextant  avec  lequel  il  vise  le  ciel,  ou 
l'on  voit  la  lune  et  les  etoiles.  A  ses  pieds  a  droite,  un  compas,  un  livre 
et  une  planche  sur  laquelle  sont  des  figures  de  geometric    Dedicace  :  A 


BIBLIOGRAPHY 


369 


qualcunque  nobili  et  illustre  Madonna  et  a  ciascun  altro  moderato  et  can- 
dido  lettore,  Giovanni,  Antonio  Tagliente.  Page  divisee  en  quatre  corn- 
par  timents  carres.  Dans  oelni  du  haut  a  gauche,  des  fleurs,  dans  celui  de 
droite  un  gland  de  chene  et  des  feuilles.  Dans  les  deux  du  bas  des  entre- 
lacs.  On  lit  au  bas  de  cette  page  5  lignes  de  texte.  Page  non  cotee,  verso, 
un  phylactere  avec  les  mots :  La  virtv  al  Huomo  sempre  li  rista  ne  morte 
nel  po  privar  di  questa.  Sur  un  autre  phylactere :  Tu  vedi.  Page  non 
cotee,  des  phylacteres  portant.  Occhi  piangete,  acopagnate  il  core.  Inclita 
virtus.  Verso. — Page  non  cotee,  verso. — Le  verso  precedent  et  le  recto  de 
la  page  suivante  ne  font  qu'un  seul  et  meme  dessin :  Orphee  char mant  les 
oiseaux  et  les  animaux.  Verso,  une  tortue  dans  une  guirlande  de  f  euillage, 
entouree  de  rubans.  Au-dessous  sept  lignes  de  texte.  Au  verso,  un  me- 
daillon  rond  dont  la  bordure  renferme  un  entrelac.  Dans  le  milieu  de 
ce  medallion  des  animaux  antour  d'un  lac.  Une  licorne  plonge  sa  corne 
dans  Peau  et  se  desaltere.  En  haut  sur  un  phylactere  les  mots :  Virtus  im- 
pavida.  En  bas  six  lignes  de  texte,  Vente  Bertin.  Vente  Yemeni tz.  Bib- 
liotheque  Nationale. 

1737 —  Tagliente,  Giovanni  Antonio — Opera  nova  che  insegna  a  le  donne,  a  cus- 
cire,  a  raccamare,  et  a  disegnare  ciascuno.  Et  la  detto  opera  sara  di 
grande  utilita  ad  ogni  artista  per  esser  il  dissegno  a  ogni  uno  necessario, 
laqual  e  intitolata,  Esempio  di  raccami.  4to,  23  ff.  36  plates.  Title  in  red 
Gothic  letters ;  beneath  four  woodcuts  representing  women  at  work.  De- 
dicace  de  33  lignes  de  texte.  A  qualcunque  nobile  et  illustre  madonne  &  a 
ciascun  altro  moderato  et  candido  lettore,  Giouanni,  Antonio  Tagliente. 
Then  follows  a  most  miscellaneous  collection  of  what  he  terms,  in  his  dedi- 
cation "fregi,  frisi,  tondi  maravigliosi,  groppi  moreschi  et  arabeschi, 
ucelli  volanti,  fiori,  lettere  antique,  maiuscoli,  &  le  francesche,"  etc.,  (three 
pages  very  much  like  the  pictures  in  a  child's  spelling  book,  rounds  (tondi) 
for  cushions,  and  two  pages  representing  hearts  and  scrolls ;  hearts  trans- 
fixed, one  with  an  arrow,  another  with  a  sword,  a  third  torn  open  by  two 
hands,  motto  on  the  scroll.  Then  follow  six  pages  of  instructions,  from 
which  we  learn  the  various  stitches  in  which  these  wonderful  patterns  may 
be  executed,  "damaschino,  rilevato,  a  filo,  sopra  punto,  ingaseato,  Cipri- 
oto,  croceato  pugliese,  scritto  incroceato,  in  aere,  fatto  su  la  rate  a  mag- 
liata,  desfilato,  &  di  racammo, ' '  to  be  sewn  in  various  coloured  silks,  gold 
and  silver  thread,  or  black  silk,  for  "collari  di  huomo  &  di  donna,  camis- 
ciole  con  pettorali,  frisi  di  contorni  di  letti,  entemelle  di  cuscini,  frisi  di 
ialcun  boccassina,  &  scufie,"  etc.  On  the  last  page,  ^Stampa  in  Vineggia 
per  Giovan  Antonio  Tagliente  &  i  Fratelli  de  Sabbio.  1530.' ?  Brunet 
gives  an  edition  dated  1528.  Page  non  cotee,  finissant  par  les  mots : 
Stampato  in  Venegia  per  Giouantonio  Taglienti  &  i  fratelli  da  Sabbio, 
MDXXX  (1530).  En  tout  28  feuillets.  47  planches  de  modeles.  Tag- 
liente est  aussi  l'auteur  d'un  traite  de  calligraphie  contenant  divers  orne- 
ments  et  chiffres  entrelaces,  qui  se  retrouvent  dans  ce  volume  de  dentelles. 
Vente  Destailleurs,  1895.  Vente  Foulc,  1914,  Paris,  frs.  500.  Cav.  Merli, 
1528  (!)  Genoa.    Bib.  Nat. 

1738 —  Tann,  S.  H. — Drawn  Thread  Work.  The  Art  Workers'  Quarterly,  October, 
1903,  London. 


370 


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1739 —  Tariff,  protest — Lace  and  Embroidery  Importers'  Association  of  New 
York  on  appraisement  of  Swiss  embroideries,  N.  Y.  Times,  May  31, 13 :3. 

1740 —  Taylor,  Eliza  A. — Priscilla  Irish  Lace  Book. 

1741 —  Taylor,  J. — Glasgow  School  of  Embroidery.  International  Studio,  V.  41, 
pp.  124-134,  Angnst,  1910. 

1742 —  Tebbs,  Augusta  Louisa — The  Art  of  Bobbin  Lace.  London,  Wm.  Barnard, 
1860.   Later  edition— Chapman  &  Hall,  1907.  B.  M. 

1743 —  Tebbs,  Louisa  and  Eosa — The  Art  of  Bobbin  Lace.  Supplement.  London, 
1911. 

1744 —  Tebbs,  Louisa  A. — The  New  Lace  Embroidery.  1905,  London.  B.  M. 

1745—  Tebbs,  L.  A.— New  Punto  Tagliato  Embroidery.  3rd  ed.  1908. 

1746 —  Teneriffe  Lace-Making — Healy  Method.  (Collection  of  Kursheedt  Manu- 
facturing Co.,  N.  Y.) 

1747 —  Teschendorf!,  T. — Kreuztichmuster  fur  Leinenstickerei.  Heft  1:10  Far- 
bendrucktafeln.   Folio.   Berlin,  1879. 

1748 —  Teschendorff,  Toni  —  Kreuzstich- Muster  fur  Leinenstickerei.  Berlin,  E. 
Wasmuth,  1884  and  1891.    10  color  plates. 

1749 —  Testard,  Maurice — Joannes  Chaleye  et  la  Dentelle  du  Puy.  Art  decor a- 
tif,  Paris,  1913.  Vol.  29,  pp.  51-60. 

1750 —  Thys,  Ch.  M.  T. — Broderies  et  Tissus  anciens,  trouves  a,  Tongres.  (Acad. 
d'Archeologie  de  Belgique.)    8vo.   Anvers,  1869.   S.  K.  M. 

1751—  Tincker,  M.  A.— Lace.    Catholic  World,  V.  17,  p.  56. 

1752 —  Tixier,  E.,  at  Paris— Event  ail.  Art  applique,  1  re  annee,  Paris. 

1753 —  Tobin,  Jeanie,  at  Cork — Dentelles  au  crochet.  Projets  de  dentelles.  Art 
applique,  Ire  annee,  Paris. 

1754 —  Tordois,  M. — Coup  d'Oeil  sur  Valenciennes  de  Pan  IX  a  Pan  XIII. 

1755 —  Toretto,  Giuseppe — Lucidario  di  Eicami  di  Giuseppe  Toretto  or  Torello 
Venezia,  1556.  In-4°.  Catalogue  de  Lucques,  1816. 

1756 —  Torond,  H. — Designs  for  Crochet.   No  date. 

1756a-Touche,  Victor — Handbook  of  Point  Lace.  London,  Wm.  Barnard,  1869. 
Illus. 

1757 —  Townsend,  L. — Collecting  Old  Samplers.  American  Homes,  V.  10,  pp.  361- 
362,  October,  1913. 

1758 —  Tozzi,  Paolo — Ghirlanda  di  sei  vaghi  fiori  scielti  da  piu  famosi  Giardini 
d 'Italia,  raccolti  da  Pistro  Paolo  Tozzi.  Primo  libro.  Belle  lettere  Mod- 
erne  mansioni  dotte  sententie  leggiadri  lauori  noui  merli  usati  numeri.  In 
Padoua  alia  libreria  del  Giesu.  Con  Privilegio.  In-8°  oblong.  Les  mots 
Pietro  Paolo  Tozzi  sont  inscrits  dans  une  guirlande  de  fleurs  des  deux 
cotes  de  laquelle  on  voit  deux  moutons,  Pun  a  droite,  Pautre  a  gauche.  De- 
dicace :  Alia  molto  HP  a  Eeverda  Sigra  Maria  Ginevra  Macchiavelli  signora 
Mia  Colendissima  .  .  .  di  Padoua  il  di  1  octobre,  1604.  Pietro  Paolo 
Tozzi.  Eomano.  Avertissement  au  lecteur.  F.  Paolo  Frassinelli  da  Bo- 
logna delP  ordine  di  sant'  agortino.  Cinq  pages  renferment  des  instruc- 
tions et  des  formules  de  salutations  propres  a  chaque  situation  sociale, 
a  chaque  degre  de  la  hierarchie,  une  instruction  pour  la  tenure  des  livres, 
une  table  de  multiplication,  etc.  Puis  commence  la  serie  des  modeles  d'ecri- 
ture,  d'alphabets,  sur  le  recto  de  chaque  page,  le  tout  dans  des  encadre- 


MBL10GEAPBY 


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371 


ments  de  dentelles,  de  guipure,  qui  font  de  ce  livre  un  veritable  livre  a 
dentelle,  rentrant  dans  le  cadre  bibliographique  que  nous  etudions  dans  le 
present  ouvrage.  Ces  planches  sont  toutes  numerotees  en  bas  dans  l'in- 
terieur  de  l'ancadrement,  par  les  chiffres  arabes  de  1  a  42.  La  derniere 
planche  porte :  Fine  delle  Tavola.  La  planche  40  est  chifTree  par  erreur  36. 
Les  modeles  d'ecriture  sont  l'ceuvre  de  Ant.  Bertozzi  et  Seb.  Zanella.  M.  le 
marquis  d'Adda,  dans  sa  bibliographie,  en  signale  une  autre  edition  de 
1616.  Vente  Piot,  n°  217.  Une  autre  edition  de  1621.  Vente  Destailleurs, 
1895.   Vente  Eugene  Piot,  1891.   4°.   14  pp.  of  text,  40  engravings. 

1759 —  Tozzi,  Fr. — Gioiello  della  Corona  per  le  nobili  e  virtvose  donne  nel  quale 
si  dimostra  altri  nuoui  bellissimi  dissegni  di  tutte  le  sorte  di  Mostre  di 
Punti  in  aria  Punti  tagliati  et  Punti  a  Eeticello,  cose  per  Freggi  come  per 
Merli  et  Eosette  che  con  l'aco  si  vsano  hoggidi  per  tutta  Europa,  Et 
molte  delle  quali  Mostre  possono  servire  ancora  per  Opere  a  Mazette. 
Nouamente  posto  in  luce  con  molte  bellissime  inventioni  non  mai  piu 
usate  ne  vedute.  In  Fiorenza  apresso  Fr.  Tozzi,  1594.  In-4°  oblong.  2 
feuillets  imprimes  suivis  de  23  planches  et  a  la  fin  d^une  grande  planche 
pliee  qui  represente  une  broderie  ombree,  sur  un  fond  clair  quadrille.  Le 
marquis  d'Adda  dans  sa  bibliographie  mentionne  de  ce  livre  une  edition  de 
1593.   Vente  Solar.   Vente  Libri,  1862. 

1760 —  Tozzi,  P.  P. — Instructione  delle  Inscrittione,  etc.  (Each  alphabet,  etc. 
is  surrounded  by  designs  for  lace  or  cut-work.)  Obi.  4to.  Padua,  1604. 
S.  K.  M. 

1761 —  Tracy,  Theo. — The  Eenaissance  of  Aristocracy's  Lace.  The  20th  Century 
Home,  February  and  March,  1904,  London. 

1762 —  Traite  de  la  Dentelle  irlandaise  et  das  Jours  a  1 'aiguille  (Point  d'Alen- 
Qon).   Paris,  Fr.  Ebhardt,  n.d. 

1763 —  Tranter  and  Adams — Eoumanian  Knitting  Cards.   1891.  B.  M. 

1764—  Treadwin,  Mrs. — Antique  Point  and  Honiton  Lace.  London;  Ward,  Lock 
&  Tyler,  1873.   100  illus.,  4to. 

1765 —  Treadwin,  Mrs. — Antique,  Point,  and  Honiton  Lace.  100  illus.  4to. 
Lond.  (1874).    S.  KM. 

1766 —  Trine  Irlandesi,  Lavori  in  Applicazione,  Eicamo  a  punto  piatto.  Milan, 
Fratelli  Treves,  1892. 

1767 —  Trionf o  di  Virtv,  Libro  novo  da  cusir,  nel  qual  si  contengono  molti  et  diuersi 
sorti  di  fogliami  del  quale  ogni  gentile  et  virtuosa  Madonna  se  potra  ser- 
vire. In  far  ponti  a  fili,  Ponti  cruciati,  Ponti  in  Trezola,  ponti  in  stura, 
ponto  scritto  tirar  in  opera,  Cuchiar,  tesser  e  molt 'altri  ponti  come  a  loro 
piacera.  Venetia,  1559.  In-4°.  16  feuillets.  Bibliographie  du  marquis 
d'Adda.    Bibliotheque  Cicognara,  Au  Vatican. 

1768 —  Trobridge,  Gr. — Vanished  Art :  Embroidery  on  Muslin.  Magazine  of  Art, 
V.  26,  pp.  199-201,  March,  1902. 

1769 —  Troulon,  Jehan — Patrons  de  diuerses  manieres. 
Inuentez  tres  subtilement, 

Duysans  a  Brodeurs  et  Lingieres. 
Et  a  ceux  lesquelsz  bravement. 
Veullent  par  bon  entendement. 


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User  d 'antiques  et  Boboesque. 

Frize  et  moderne  proprement.         ,  !       ,     i  1 

En  comprenant  aussi  Moresque. 

A  tous  massons,  menusiers,  et  verriers. 

Feront  promt  ces  pourtraictz  largement. 

Aux  orpheures  et  gentilz  tapissiers. 

A  ieusnes  gens  aussi  semblablement. 

Oublier  point  ne  veulx  aucunement. 

Contrepointers  et  les  tailleurs  d'ymages. 

Et  Tissotiers  lesquelz  pareillement. 

Par  ces  patrons  acquerront  heritages. 

Le  sire  Jehan  Troulon  diet  de  bourgogne  a  este. 

Inventeur  de  ces  presens  patrons. 

Pareillement  sont. 

Adioustez  plusieurs  beaulx  ouuraiges  par  messire. 
Antoine  Belyn,  Recluz  de  Saint  Martial  de  Lyon. 
Petit  in-4°.  Ce  titre  cote  en  bas  AA,  est  dans  un  encadrement  forme  de  rinceaux, 
de  neurons  et  de  feuillage.  S'ensuyuet  les  patrons  de  messire  Anthoine 
Belyn,  recluz  de  sainct  Marcial  de  Lyon.  Item  plusieurs  aultres  beaux 
patrons  nouueaulx  qui  ont  este  inuentez  par  frere  Jehan  Mayol,  Carme 
de  Lyon.  Ce  titre  cote  EE,  est  dans  un  encadrement  forme  de  deux  co- 
lonnes  autour  desquelles  tourne  un  rinceau  de  feuillage.  En  bas  une  bande 
rectangulaire  au  milieu  de  laquelle  est  un  petit  ecusson  blanc  soutenu  a 
droite  et  a  gauche  par  deux  petits  amours  nus  et  ailes.  Au-dessous  du 
titre  un  ecusson  comprenant  un  cceur  surmonte  d'une  couronne.  En  des- 
sous  un  lion  rampant.  Autour  de  1 'ecusson  et  du  lion,  une  bordure  rectan- 
gulaire sur  laquelle  on  lit :  Cor  contritum  et  humiliatum  deus  non  des- 
picies.  Psalmo  50.  Au  verso  broderie.  Vente  Destailleurs.  II  y  a  a  la 
Bibliotheque  Mazarine,  une  plaquette  dans  laquelle  se  trouve  cette  der- 
niere  partie.  Le  titre  est  le  meme  mais  l'interieur  de  1 'encadrement  ofTre 
quelques  difTerences  qui  f eraient  croire  a  une  autre  edition.  On  voit  dans 
celle-ci  au  milieu,  au-dessous  du  titre,  dans  un  trait  carre  et  un  filet  rec- 
tangulaire en  hauteur,  un  ecusson  au  milieu  d'une  couronne  de  feuilles  en 
bas  dans  un  plat  que  tient  une  main  deux  yeux,  et  au-dessous  enroule  dans 
le  bas  de  la  couronne  de  feuilles  un  phylactere  sur  lequel  on  lit :  Oculi  mei 
semper  ad  Dominum,  Psal.  24.  En  bas  un  sujet  religieux  grave  sur  bois, 
en  haut  au-dessus  du  titre,  le  pere  Eternel  entoure  d'anges.  Veute  Des- 
tailleurs, 1895.   See  A.  Belin  and  Saincte  Lucie. 

1770 —  Truchet,  le  Reverend  pere  Sebastian — see  Douat. 

1771—  Trust  de  Dentelle  Beige,  Le— La  Gazette,  Dec.  2,  1902,  Brussels. 

1772 —  Tuque t,  Marcel — Compositions  pour  dessins  de  rideaux.   3  series.  Paris, 
A.  Calavas,  n.d.  18  plates  in  each  series. 

1773 —  Turgan — Fabrique  de  dentelles  0.  de  Vergines  et  soeurs,  ancienne  maison 
Vanderkelen-Bresson  a  Bruxelles.    (Les  Grandes  Usines),  Paris. 

1774—  Turgan— Les  Grande  Usines.   Les  Dentelles,  Vol.  V.  p.  229 ;  VI.  p.  237.  8 
vols.,  8vo.   Paris,  1863-68.    S.  K.  M. 

1775 —  Tyrsova,  R. — 0.  obrozeni  lidoveho  vysivani.    (Dentelles  et  Broderies  de 
Boheme).   Cesky  Lid  (Le  Peuple  tcheque),  1899,  Prague. 


BIBLIOGRAPHY 


373 


1776 —  U — La  Belgique  dentelliere.  Bruxelles  Feminin,  Jan.  15,  1903,  Brus- 
sels. 

1777 —  Ubisch,  E.  von — Uber  Spitzenbucher  und  Spitzen.  In  Reportorium  fur 
Kustweissenschaft,  1893.    V.  16,  pp.  88-99. 

1778 —  U.  S.  Bureau  of  manufactures — Machine-made  lace  industry  in  Europe. 
Wash.  1905. 

1779 —  U.  S.  Dept.  of  commerce  and  labor — Lace  industry  in  England  and  France. 
Washington,  1909. 

1780 —  Urbani  de  GrheltofT,  G.  M. — Les  Arts  industriels  a  Venise,  au  Moyen  Age 
et  a  la  Eenaissance.  Traduction  de  Alf.  Cruvellie.  Venice,  Usiglio  & 
Diena,  1885. 

1781—  Urbani  de  Gheltof,  G.  M.— I  Merletti  a  Venezia.    Venice,  1876. 

1782 —  Urbani  de  Gheltof,  Gr.  M. — Trattato  storico  tecnico  della  fabbricazione  dei 
merletti  Veneziani.  C.  tavole.  Venezia,  1878. 

1783 —  Urbani  de  Gheltof,  G.  M. — Trattato  storico  tecnico  della  fabbricazione  dei 
Merletti  veneziani.  (Venezia-Burano.)  Con  tavole.  Sm.  4to.  Venezio, 
1878.  English  translation  by  Lady  Layard.  "A  Technical  History  of 
the  manufacture  of  Venetian  Laces.''  Illustrations.  Sm.  4to.  Venice, 
1882.    S.  K.  M.  ; 

1784 —  Urbani  de  GheltofT,  G.  M. — Traite  historique-technique  de  la  fabrication 
des  dentelles  venitiennes  (Venise-Burano).  Edition  franchise  revue  par 
M.  Le  Monnier.    Venice,  F.  Ongania,  1893. 

1785 —  Ure,  A. — Dictionary  of  Arts,  Manufactures  and  Mines.  (Lace  Manu- 
facture, Vol.  II.)    3  vols.  8vo.    Lond.   1867.    S.  K.  M. 

1786 —  Valverde,  Marques  de — Catalogo  de  la  Exposicion  de  Lenceria  y  Encajes 
Espaholes  del  siglo  XVI  al  XIX. 

1787 —  Van  de  Casteele,  De — Un  fil  de  Tancienne  industrie  dentelliere  a  Liege. 
Bull.  Institut  archeol.  liegois.    1885,  Liege. 

1788 —  Van  de  Wiele,  Margaret — Le  "point"  de  Flandre  par  Natalis  (pseudon.) 
Le  Peit  Bleu,  Dec.  8,  1898,  Brussels. 

1789 —  Van  Holsbeek — L 'industrie  dentelliere  en  Belgique.  Etude  sur  la  condi- 
tion physique  et  morale  des  ouvrieres.    Brussels,  1863. 

1790 —  Van  Meerton,  W.  A.  B. — Penelope  of  Maandwerk  aan  het  Vrouwelijk 
Geslacht  toegewijd  betattende  de  beschrijving  en  afbeelding  van  aller- 
hande  soorten  van  Vrouwelijke  handwerken  benevens  eenige  lektur  over 
onderwerpen  uit  den  vrouwelijken  Kring.  Profusely  illustrated  with  a 
great  number  of  colored  plates  of  embroidery,  tapestry,  etc.  8  volumes. 
Amsterdam,  1829. 

1791 —  Van  Schoel,  Henrico — Fogliami  diversi  nouamete  posti  in  luce.  Opera 
vtiliss-ma  e  necessaria  p.  li  racamatori,  serittoriorij.  et  lauoranti  di 
ebano  et  intagliator  de  lego  Orefici,  Argentarii,  et  altre  arte,  diuerse. 
Henrico  van  schoel  excudit  Roma  S.  A.  (circa  1580.)    Eecueil  de  31  plan- 


374 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


ches  d'ornements  dessines  dans  la  seconde  moitie  du  XVI°  siecle  et 
gravees  an  trait.  C'est  nne  reunion  de  modeles  pour  les  fabricants  do 
dentelles,  les  ecrivains,  les  artistes  mosa'iqnenrs  en  ebene  et  en  cuivre,  les 
orfeves,  les  bijoutiers,  etc. 

1792— Vaulabelle,  Alfred  de— La  Dentelle.    Le  Rappel,  April  12,  1903,  Paris. 

1793 —  Vaulabelle,  Alfred  de — Industrie  du  Tulle  et  de  la  Blonde.  Cosmos,  Oct. 
11,  1890,  Paris. 

1794 —  Vauxcelles,  Louis — Broderies,  Dentelles  et  Passementeries  de  Fernand 
Courteix.    La  Femme  d'aujourd'foui,  1904,  No.  7,  Paris. 

1795 —  Vavassore,  G.  A.  (?) — Burato. .  .con  nova  maestria,  gratios  donner  novo 
artificio  vi  apporto.  A  second  edition  without  date.  4to,  if.  59 ;  frontis- 
piece, ladies  at  work,  verso,  Triumph  of  Fame.  Four  books  of  designs  of 
great  elegance  and  taste.  The  Marquis  d'Adda  assigns  them  to  Vavas- 
sore. 

1796 —  Vavassore,  Giovanni  Andrea — Esemplario  di  lauori:  che  insegna  alle  done 
il  modo  e  ordine  di  lauorare;  cusire  et  racamare,  et  finalmente  far  tutte 
qlle  opere  degne  di  memoria,  lequale  poz  fare  una  donne  virtuosa  con  laco 
in  manno.  Et  vno  documento  che  insegna  al  compratore  accio  sia  ben 
seruito.  A  la  fin  du  volume  on  lit :  Stampata  in  Vineggia  per  Giouanni 
Andrea  Vauassore  detto  Guadagnino,  ne  li  anni  del  signore,  MDXXX 
(1530)  a  di  XXII  Nouembrio.  Get  exemplaire  est  le  meme  que  celui  de 
l'Esemplario  di  Lavore  de  Zoppino  avec  une  date  d'une  annee  posterieure 
1530,  au  lieu  de  1529.    Vente  Bancel,  1882. 

1797 —  Vavassore,  G.  A. — Exemplario  di  lauori,  che  insegna  alle  donne  il  modo 
et  ordine  di  lauorare,  cusire  et  raccamare,  et  finalmete  far  tutte  qlle 
opere  digne  di  memoria,  lequale  po  fare  una  donna  virtuosa  con  laco  in. 
mano  et  uno  documeto  che  insegna  al  copratore  accio  sia  ben  seruito.  In- 
4°.    Le  mot  exemplario  .  .  .  est  tire  en  noir ;  le  reste  du  titre  est  en  rouge. 
Ce  titre  est  au  milieu  de  la  page,  entoure  des  quatre  cotes  par  six  compo- 
sitions gravees  sur  bois.    Trois  en  haut,  une  sur  chaque  cote  vertical  et 
une  plus  grande  en  bas.    On  remarque  en  haut  a  gauche,  une  femme  de 
profil  a  droite  travaillant  a  un  metier  de  basse  lisse.  Au  milieu  une  femme 
presentant  un  ouvrage  de  broderie  a  un  homme  qu'on  voit  a  droite,  coiffe 
d'un  bonnet  a  plumes.    A  droit  une  femme  assise  devant  une  table  sur 
laquelle  est  pose  un  petit  metier  a  broder.     Dans  les  compositions  des 
cotes,  on  remarque  a  droit  un  homme  assis  de  profil  a  gauche,  une  toque  a 
plumes  sur  la  tete,  travaillant  a  un  ouvrage  pose  devant  lui  sur  un  pupitre. 
A  gauche  une  femme  assise  de  face,  brodant  a  un  metier  pose  devant  elle. 
Dans  la  composition  du  bas,  on  voit  une  femme  assise  sur  une  chaise,  de 
face,  travaillant  a  une  ouvrage  de  broderie  pose  sur  ses  genoux.    Une  autre 
femme  assise  pres  d'elle  a,  droite,  lui  offre  une  aiguille.    En  bas  de  cette 
composition,  on  lit  au  milieu:  Fiorio  Vauassore  fecit.    Au  verso  on  lit 
sept  lignes  commengant  par  les  mots.  . .  .  Documento  per  el  compratore 
et  au-dessous  a  qualun  que  nobile  et  illustre  Madone,  et  a  ciascun  altro 
moderato  e  candido  lettore,  Giouan  Andrea  Vauassore  detto  Guadagnino. 
S.    Puis  commencent  les  broderies.    AXIII,  verso.    Le  verso  de  cette 
page  et  le  recto  de  la  page  suivante,  ne  forment  qu'une  seule  feuille  ployee 


BIBLIOGRAPHY 


375 


en  deux  qui  constitue  le  milieu  du  volume  et  qui  contient  un  sujet  repre- 
sentant  Orphee  charmant  les  animaux.  Alphabet  de  capitales  droites. 
Page  non  cotee,  30  lignes  de  texte,  au-dessous  desquelles  on  lit:  Stampato 
in  Vineggia,  per  Giouanni  Andrea  Vauassore,  detto  Guadagnino,  ne  li 
anni  del  signore  MDXXXI  a  di  X  Marzo.  26  Feuillets  dont  un  titre  au 
commencement,  une  page  a  la  fin  dont  le  recto  contient  la  suscription  ci- 
dessus  et  24  planches  de  broderies  imprimees  au  recto  et  au  verso.  Troi- 
sieme  edition  de  ce  recueil.    Bibliotheque  Nationale. 

1798 —  Vavassore,  G.  A. — Esemplario  di  Lauori  che  insegna  alle  donne  il  modo  e 
ordine  di  lauorare,  cusire  e  racamare  .  .  .  fiorio  Vauasore  fecit  (1531). 
4°.    40  cuts.    B.  K.  M. 

1799 —  Vavassore,  G.  A. — Esemplario  di  lauori:  che  insegna  alle  donne,  il  modo 
et  ordine  li  lavorare,  cusire  et  raccamare  et  finalmente,  far  tutte  quelle 
opere  digne  di  memoria :  lequale  po  fare  una  donna  virtuosa  con  laco  in 
mano  et  uno  documento  che  insegna  al  compratore  accio  sia  ben  seruito. 
A  la  fin:  Stampato  in  Veneggia  per  Giouanni  Andrea  Vauassore  detto 
Guadagnino,  ne  li  anni  del  nro  Signore  MDXXXij  a  di  primo  augusto. 
Quatrieme  edition  de  ce  recueil.  Voir  pour  la  description  de  ce  volume 
celle  que  nous  donnons  ci-dessus  les  deux  sont  identiques  et  ne  different 
que  par  le  millesime.  Vente  Destailleurs,  1895.  Vente  Pirovano,  Eome, 
1901.  4°.  Cuts  (26  leaves).  Sig.  A-l-XIII.  Another  copy  of  this  book, 
47  plates,  in  Cat.  of  Weyhe,  N.  Y.,  No.  20,  1918.    Metro.  Mus. 

1800 —  Vavassore,  G.  A. — Esemplario  di  lavori  che  insegna  aele  donne  il  modo  et 
ordine  di  lauorare,  cusire,  e  raccamare  e  finalmete  far  tutte  qlle  opere 
degne  di  memoria:  lequale  po  fare  una  donna  virtuosa  con  laco  in  mano  et 
uno  documento  che  insegna  al  compratore  accio  sia  ben  seruito.  A  la  fin : 
Stampato  in  Veneggia  per  Giovanni  Andrea  Vauassore,  detto  Guadagnino 
et  Fiorio  Fratello,  nelli  anni  del  nostro  Signore,  MDXXXXIII.  A  di  XIII 
Marzo.  Cinquieme  edition  de  ce  recueil.  Voir  pour  la  description  de  ce 
volume  celle  que  nous  donnons  ci-dessus.  Les  deux  sont  identiques  et  ne 
different  que  par  le  millesime.  Catalogue  Cappi  de  Boulogne.  Catalogue 
de  la  vente  Seillieres,  par  Porquet,  1890. 

1801 —  Vavassore,  G.  A. — Esemplario  di  lavori :  che  insegna  alle  done-il  modo  e 
ordine  di  lavorare :  cusire :  e  racamare :  e  finalmete  far  tutte  qlle  opere 
degne  di  memoria :  lequale  po  fare  una  donna  virtuosa  con  laco  in  mano. 
Et  uno  documento  che  insegna  al  copratore  accio  sia  ben  servito.  In  8vo, 
25  ff .,  printed  on  both  sides,  48  plates.  Title  in  red  Gothic  characters, 
framed  round  by  six  woodcuts  similar  to  that  of  Vosterman;  at  the  foot, 
" fiorio  Vavasore  fecit."  There  is  no  date  to  this  copy;  but  in  the  library 
of  Prince  Messimo,  at  Eome,  is  a  copy  dated  Venice,  18  Feb.,  1546,  con- 
taining 50  plates ;  and  Brunet  quotes  an  edition,  "Stampato  in  Vinezia, 
1556 Cav.  Merli  also  possesses  an  edition  of  the  same  date.  Mr.  E.  Ar- 
nold has  also  a  copy  with  the  same  date.  The  patterns  are  mediaeval,  on 
black  grounds,  with  counted  stitches,  a  large  flower  pot,  mermaid,  Paschal 
lamb,  and  a  double  plate  representing  Orpheus  playing  to  the  beasts.  Bib. 
Nat.  Grav. 

1802— Vavassore,  G.  A. — Esempalrio  di  lavori :  che  insegna  alle  donned  il  modo 


376 


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et  ordine  di  lavorare,  cusire  et  raccare  et  finalment  far  tutte  quelle 
opere  degne  di  memoria.  Lequale  por  fare  una  donna  virtuosa  con  laco 
in  mano.  Et  nno  docnmento  che  insegna  al  compratore  accio  sia  ben  ser- 
vito.  A  la  fin :  Stampato  in  Vineggia  per  Giouanni  Andrea  Vauassore 
detto  Guadagnino.  Nelli  anni  del  nostro  Signore  MDXXXXVI.  A  di 
XVIII  Febraro.  Sixieme  edition  de  ce  recueil.  Voir  pour  la  description 
de  ce  volume  celle  que  nous  donnons  ci-dessus  (MDXXXXIII).  Les  deux 
sont  identiques  et  ne  different  que  par  le  millesime.  Vente  Libri,  1857, 
Vente  Destailleurs,  1895.    4°.    Cuts  (26  leaves).    (Rosenthal  Sale  Cat.) 

1803 —  Vavassore,  G.  A. — Essemp'lario  novo  di  piu  di  cento  variate  mostre  di 
qualunque  orte  bellissime  per  cusire  intitolato  Fontana  di  gli  essempli. 
Oblong  8vo.  No  date.  16  if.,  28  plates.  In  the  frontispiece  is  a  fountain 
with  the  motto,  "Solioitudo  est  mater  divitiarum, ' '  and  on  each  side  of  the 
fountain — " Donne  donzelle  ch,  El  cusir  seguite — Per  farvi  eterne  alia, 
Fonte  venite. ' '  On  the  back  of  the  frontispiece  is  the  Dedication,  headed, 
"11  Pelliciolo  alia  molta  magnifica  Madona  Chiara  Lipomana;,,  the  page 
finished  by  a  sonnet  ;  in  the  last  leaf,  "Avviso  alle  virtuose  donne  et  a  qua- 
lunque lettore  Giovanni  Andrea  Vavassore  detto  Guadagnino.,,  Says  he 
has  "negli  tempi  passati  fatto  imprimere  molto  e  varie  sorte  d'essemplari 
di  mostre,"  etc.  At  the  foot  " Nuevamente  stampeto."  This  work  is 
also  described  by  Count  Cicognara  with  the  same  title,  only  with  the  date 
1550.  In  this  last  edition  the  author  writes  his  name  Valvassore.  Cata- 
logo  ragionata  dei  libri  posseduti  dal  Conte  di  Cicognara.  Pisa,  1821. 
Bib.  Nat.  In  the  Bibliotheca  Communitativa,  Bologna,  is  a  copy  of  the 
same  date. 

1804 —  Vavassore,  G.  A. — Essemplario  novo  di  piu  di  cento  variato  mostre  di 
qualunque  sorte  di  Telissime  per  cusire,  intitulato  Fontana  de  gli  Essem- 
pli. Au-dessous  de  ce  titre  est  un  grand  fleuron  representant  un  vase 
dont  la  panse  est  decoree  de  tetes  d'enfants  qui  crachent  par  leurs  bouches 
de  minces  filets  d'eau.  Ces  filets  sont  recueillis  par  de  petits  enfants  as- 
sis,  ou  debout  par  terre  autour  du  vase.  En  haut  une  banderolle  sur  la- 
quelle  on  lit :  Solicitudo  est  mater  Divitiarum.  Des  deux  cotes  du  vase 
les  vers  suivants :  Donne  et  donzelle  che  el  cusir  seguite,  Per  farvi  eterne 
alia  fonte  venite.  Au  verso  une  dedicace :  II  Pellicolo  alia  mostro  mag- 
nifica Madonna  Lipomana  Signora  et  Patrona  honorandissima.  Puis  17 
lignes  de  texte  et  au-dessous  14  vers  disposes  7  a  droite,  7  a  gauche.  Puis 
commencent  les  broderies.  Page  non  cotee.  Sur  ce  recto  on  lit :  Alle  vir- 
tuose donne  et  a  qualunque  lettore  Giouanni  Andrea  Valvassore  detto 
Guadagnino.  S.  17  lignes  de  texte  au-dessous  desquelles  on  lit :  Nouamente 
stampato  per  Giuanni  Andrea  Valuassore  detto  Guadagnino  MDL.  En 
resume  16  pages  dont  27  planches  de  broderies  a  cause  du  dessin  double 
qui  occupe  deux  pages.  Catalogue  Cicognara,  Cicognara  en  donne  une  des- 
cription detaillee.    Vente  Destailleurs,  1895.   Bibliotheque  Nationale. 

1805 —  Vavassore,  G.  A. — Esemplario  di  lavori :  che  insegna  alle  donne  il  modo 
et  ordine  di  lauorare,  cusire  et  raccamare,  e  finalmete  far  tutte  quelle 
opere  degne  di  memoria,  lequale  po  fare  una  donna  virtuosa  con  laco  in 
mano.  Et  uno  documento  che  insegna  al  copratore  accio  sia  be  servito. 


BIBLIOGRAPHY 


377 


A  la  fin:  Stampato  in  Vineggia  per  Giovanni  Andrea  Valuassore  detto 
Guadagnino.  1552.  Septieme  edition  de  ce  recueil.  Voir  pour  la  des- 
cription de  ce  volnme  celle  que  nous  donnons  ci-dessus  (MDXXXXVI). 
Les  deux  sont  identiques  et  ne  different  que  par  le  millesime.  Tross,  cata- 
logue de  1867. 

1805a — Vavassore,  G.  A. — Essemplario  di  lavori,  etc.  Eeproduced  under  direc- 
tion of  Elisa  Eicci.  Bergamo. 

1806 —  Vavassore,  G.  A. — Libro  secondo  di  Bellissime  et  variate  mostre, 
intitulato,  fior  de  gli  Essempli,  nouamente  dato  in  luce.  In-4°  oblong. 
Au-dessous  de  ce  titre,  un  fleuron  compose  d'une  tablette,  sur  laquelle  sont 
des  fruits,  grenades,  melons,  raisins,  le  tout  surmonte  d'une  palme,  et  de 
branches  chargees  de  fruits.  A  gauche  de  ce  fleuron  on  lit:  Leggiadre 
donne  che  desiate  honore,  et  a  droite,  Del  cusir  vostro  non  lasciate  il  fiori. 
Au  verso :  II  Pellicolo  alia  Clarissima  Madonna  Chiara  Lippomana  sua  os- 
servandissima.  Puis  quatorze  lignes  de  dedicace.  Sur  une  22°  feuille 
correspondant  an  titre,  on  lit :  Alle  virtuose  donne  et  a  qualunque  Lettore 
Giovanni  Andrea  Vauassore  detto  Guadagnino.  S.  Puis  16  lignes  de 
texte  et  au-dessous :  Nouamente  Stampato  per  Giouanni  Andrea  Vauas- 
sore, detto  Guadagnino  et  Florio  Fratello.  Vente  Yemenitz,  Venetia,  1550. 
Bibliotheque  Nationale.    S.  K.  M. 

1807 —  Vavassore,  Giovanni- Antonio,  known  as  Zoan  Andrea  and  Guadagnino — 
La  Fior  de  gli  esempli,  la  Corona  di  ricami.  1550. 

1808 —  Vavassore,  Giovanni- Antonio — Fontana  de  gli  esemplio.  1546. 

1809 —  Vavassore,  G.  A. — Opera  nova  universal  intitulata,  Corona  di  Eaccami, 
dove  le  venerande  donne  e  fanciulle,  trovarono  di  varie  opere  per  far 
colari  di  camisiola  et  torniaenti  di  letti  etemella  di  cuscini  boccasini :  schu- 
fioni :  cordilli  di  piu  sorte.  Et  molte  opere  per  reccamatori  et  per  dipitore 
et  porevesi :  de  laqual  opere  e  vero  essempli  ciascuno  le  potra  pore  in 
opera  secondo  el  suo  bisogno.  Con  gratia.  Nouamente  stampata  ne  la 
inclita  citta  di  Vineggia  per  Giovanni  Andrea  vavassore  detto  Guadag- 
nino. s  d.  In-4°.  Le  titre  entierement  xylographie  est  inscrit  a  mi-page 
et  est  surmonte  d'un  petit  sujet  au  point  compte,  sur  fond  de  tapisserie. 
Le  tout  est  renferme  dans  un  encadrement  forme  de  quatre  bandes  rec- 
tangulaires,  deux  horizontales,  deux  verticales,  renfermant  des  rinceaux  et 
des  ornements.  Dans  Pune  de  ces  bandes  verticales,  on  remarque  les 
initiales :  G.  A.  V.  qui  est  le  monogramme  de  Giovanni  Andrea  Vavassore. 
Dans  le  coin  de  la  derniere  page  on  lit :  Finisce  il  libro  intitulato  Corona 
di  Eacami.  En  resume  26  feuillets  dont  un  titre  et  51  planches  de  bro- 
deries.  II  existe  des  exemplaires  ou  le  verso  du  titre  n'a  pas  de  broderies. 
Dans  ce  cas  il  y  a  toujours  26  feuillets,  mais  il  nJy  a  plus  que  50  planches 
de  broderies.  Vente  Pirovano,  Eome,  1901.  Vente  Destailleurs,  1895. 
Bibliotheque  Nationale. 

1810 —  Vavassore,  Gio.  A. — Opera  nova  Universal  intitulata  corona  di  ricammi ; 
Dove  le  venerande  donne  e  fanciulle :  troverano  di  varie  opere  p  fare  colari 
di  camisiola  &  torniaenti  di  letti  eternelle  di  cuscini  boccasini  schufioni: 
cordlli  di  piu  sorte  ;  et  molte  opere  per  recamatori  p  dipitore  poreuesi: 
de  lequale  opere  o  vero  esempli  ciascuno  le  potra  pore  in  opera  secodo 


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el  suo  bisogno:  con  gratia  novamente  stampata  ne  la  inelita  citta  di 
vineggia  per  Giovanni  Andrea  Vavassore  detto  Guadagnio.  36  pp.,  sm. 
4to.  13  ff.,  52  designs.  Library  V.  &  A.  M. — Venice,  Lib.  St.  Mark.— 
Milan,  Bib.  Marqnis  d'Adda. 

1811 —  Vavassore,  G.  A.,  detto  Guadagnino — Opera  nova,  etc....  dove  le  ve- 
nerande  donne  et  fanciulle  trovaranno  di  varie  opere  et  molte  opere  per 
recamatori  et  per  dipintori,  etc.  Nuovamente  stampata,  etc.  A  little 
of  everything  in  this  volume.  Zoan  Andrea  Vavassore  was  the  pupil  in 
drawing  and  engraving  of  Andrea  Mantegna.  So  greedy  was  lie  of  gain 
as  to  obtain  for  him  the  name  of  Guadigno,  in  Venetian  patois,  "  covet- 
ous.' '    Milan,  Bib.  Marquis  G.  d'Adda. 

1812 —  Vavassore,  And.  detto  Guadagnini — Opera  Nuova  Universale,  intitulata 
Coronna  di  Eicammi  dove  le  venerande  donne  e  fanciulle  trovarono  di 
varie  opere  per  far  colari  di  camisiola,  etc.  Facsimile  of  the  original  of 
1546  ( !)  with  40  plates.  Venice,  1878.  Sm.  4to.  Ongania,  36  pp.  S.  K.  M. 
Metro.  Mus. 

1813 —  Vavassore,  G.  A. — Opera  nuova  universale  intitolata  corona  di  Eicami, 
Bergamo,  1910.    Eeproduced  under  direction  of  Elisa  Eicci. 

1814 —  Vavassore,  G.  A. — La  vera  perfettione  del  disegno  di  uarie  sorti  di  ricami 
et  di  cucire  ogne  sorte  di  punti  a  f  ogliami,  punti  tagliati,  punti  a  fili,  et  ri- 
messi,  punti  introciati,  punti  a  stuora,  &  ogn'altro  arte  che  dia  opera 
a  disegni.  In  Venetia,  presso  gPheredi  de  Luigi  Valuassori  e  Gio.  Do- 
menico  Micheli,  1584.  Al  segno  del  l'lppogrifo.  In  4°  oblong.  II  y  aurait 
une  edition  de  1585.  (Eahir,  catalogue  Destailleurs.)  Bibliotheque  Na- 
tionals 

1815 —  Vecellio,  C. — Corona  delle  nobile  et  Virtuose  donne,  Libro  primo  (e  sec- 
ondo)  nel  quale  si  dimostra  in  varij  dissegni  tutte  le  sorti  di  Mostre  di 
Punti  Tagliati,  Punti  in  aria,  Punti  a  reticello,  et  d'ogni  altra  sorte,  cosi 
per  Freggi,  come  per  Merli  et  Eosette,  che  con  Paco  si  usano  per  tutta 
PEuropa.  In  Venetia  appresso  Giorgio  Angelieri  a  instantia  di  Cesare 
Vecellio.  (1591.)  In-4°  oblong.  Titre  different  vente  Yemenitz.  Un  e- 
xemplaire  de  cet  ouvrage  mais  date  de  1592,  se  trouve  a  la  Bibliotheque  de 
Parsenal.  Un  exemplaire  de  cette  meme  date  1592  est  passe  dans  la  vente 
Santarelli  faite  par  monsieur  Danlos.    Vente  Foulc,  1914. 

1816 —  Vecellio,  C. — Corona  delle  nobili  etc.  Marzo,  1591.  Ongania  reproduc- 
tion, 1876.    (There  is  also  a  Hoepli  reproduction  of  this  book.) 

1817 —  Vecellio,  C. — Corona  delle  nobili  et  virtvose  donne,  libro  primo  Nel  quale 
di  dimostra  in  varij  dissegni  tutte  le  sorte  di  Mostre  di  Punti  tagliati, 
Punti  in  aria,  Punti  a  reticello  e  dogni  altra  sorte  cosi  per  Freggi,  come 
per  Merli  et  Eosette  che  con  laco  si  vsano  hoggidi  per  tutta  PEuropa.  Et 
molte  delle  quali  mostre  possono  seruire  anchora  per  opere  a  Mazette. 
Aggiuntoui  in  questa  Terza  impressione  molti  bellissimi  disegni  non  mai 
piu  veduti.  Petit  in-4°  oblong.  Au-dessous  de  ce  titre  une  marque  d'lm- 
primerie.  C'est  un  Cartouche  ovale  dans  la  bordure  duquel  on  lit:  Volup- 
tatum  et  malorum  effetur  dissipatio.  Dans  ce  Cartouche  un  oiseau  regarde 
de  profil  a  gauche  des  serpents  qui  grouillent  a  ses  pieds.  Le  cartouche 
qui  renferme  cet  oiseau,  est  entoure  de  cuirs,  de  mascarons,  de  petits 


BIBLIOGRAPHY 


379 


amours  eta  droite  et  a  gauche  des  femmes  assises  qui  travaillent  a  le 'ai- 
guille. Au-dessous  de  cette  marque  d'imprimerie  on  lit:  Con  Privilegio. 
In  Venetia  appresso  Cesare  Vecellio  in  Frezzaria  nelle  case  de  Preti.  1591. 
Dedicace.  .  .  .Alia  clarissima  et  illustrissima  Signora  Viena  Vendramina 
Nani  .  .  .  Finissant  au  verso  par  les  mots :  Di  Venetia  a  di  Genaro.  1591, 
et  signee  Cesare  Vecellio.  Gravure  sur  bois  representant  une  femme  de- 
bout  sur  une  tortue,  de  face,  une  main  tenant  un  peloton  de  fil,  P  autre 
main  levee  en  Pair,  Pindex  etendu.  Au  fond  deux  femmes  assises,  tra- 
vaillant  a  P  aiguille  et  un  sculpteur  a  une  statue.  Cette  composition  est 
entouree  en  haut  et  sur  les  cotes  de  bandes  de  guipures.  Au-dessus  de 
cette  gravure  on  lit:  Conviensi  ehe  la  della  donna  la  bonta  et  non  la  bel- 
lezza  sia  divulgata.  Au  verso  un  dessin  de  broderie  Corona  delle  nobili 
et  virtuose  donne,  Libro  secondo.  Nel  quale  si  dimostra  in  varij  dissegni 
tutte  le  sorte  di  mostre  di  Punti  Tagliati,  Punti  in  aaria,  puntia  a  reti- 
cello,  e  d'ogni  altra  sorte,  cosi  per  Freggi,  come  per  Merli  et  Rosette,  che 
con  laco  si  vsano  hoggidi  per  tutta  PEuropa.  Et  molte  delle  quali  mostre 
possono  servire  anchora  per  opere  a  Mazette.  Aggiuntoui  in  questa  Terza 
impressione  molti  bellissimi  ricami  non  piu  vedette.  Meme  marque  d'im- 
primerie  que  dans  le  livre  premier  ci-dessus,  meme  libelle  du  Privilege, 
meme  date.  Meme  dedicace  qu'au  livre  premier  ci-dessus.  Corona  delle 
nobili  et  virtuose  donne,  Libro  Terzo,  nel  quale  si  dimostra  in  varij  dis- 
segni molte  sorti  di  mostre,  di  Punto  in  aria,  Punti  Tagliati,  Punti  a  reti- 
cello,  et  ancora  di  picciole  cosi  per  Freggi,  come  per  merli  et  Rosette,  che 
con  laco  si  vsano  hoggidi,  per  tutta  PEuropa.  Con  alcune  laltre  noue  in- 
ventioni  di  Bauari  alP  usanza  Venetiana.  Opera  nouva  e  non  piu  data  in 
luce.  Meme  marque  d'imprimerie  que  dans  le  livre  premier,  ci-dessus, 
meme  libelle  du  Privilege.  Dedicace :  .  .  .  Alia  clarissima  et  illustris- 
sima Signora  Viena  Vendramina  Nani.  Finissant  au  verso  par  les  mots : 
Di  Venetia,  a  di.  15  Giugno.  1591,  et  signee :  Cesare  Vecellio.  Feuille  qua- 
drillee  indiquant  la  maniere  de  piquer  un  dessin  et  de  le  reduire  ou  agrandir 
par  les  carreaux  de  proportion.  Avertissement  aux  femmes  sur  la  ma- 
niere de  travailler.  On  pourrait  conclure  de  Penonce  des  trois  titres  ci- 
dessus,  que  cette  edition  serait  la  troisieme  en  date.    Bib.  Nationale. 

1818 —  Vecell,  Cesare. — Corona  delle  nobili  et  virtuose  donne.  Libro  Primo, 
Secondo,  Terzo.    1592.    P.  77. 

1819 —  Vecellio,  C. — Corona  delle  nobili  et  virtuose  donne.  Libro  primo.  Nel 
quale  si  dimostra  in  varij  Dissegni,  tutti  le  sorti  di  Mostre  di  punti  tagliati, 
punti  in  aria,  punti  a  Reticello,  e  d'  ogni  ialtra  sorte  cosi  per  Freggi  come 
per  Merli,  &  Rosette,  che  con  P  Aco  si  usano  hoggidi  per  tutta  PEuropa. 
Et  molte  delle  quali  Mostre  possono  servire  anchora  per  Opere  a  Mazzette. 
Aggiuntivi  in  questa  Quarta  impressione  molti  bellissimi  dissegni  non  mai 
piu  veduti.  Then  follows  the  printer's  impresa  of  the  stork  and  serpent, 
with  a  lady  at  work  on  each  side,  and  below — Con  privilegio.  In  Venetia, 
Appresso  Cesare  Vecellio  in  Frezzaria  nelle  Case  de' Preti.  1592.  Which 
is  repeated  in  the  2nd  and  3rd  Books.  Obi.  4to,  32  ff.,  28  plates.  Dedica- 
tion of  Vecellio  11  Alia  Clarissima,  et  Illustrissima  Signora,  Viena  Ven- 
dramina Nani,  dignatissima  Consorte  delPIllust-smo  Sig.  Polo  Nani,  il 


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Procurator  di  S.  Marco."  Signed:  Venice,  Jan.  20,  1591.  Beautiful  de- 
signs, among  which  are  three  corners  for  handkerchiefs,  the  last  lettered: 
"Diverse  inventioni  p.  cantoni  dee  fazoletti."  On  Plate  3,  within  a  point 
coupe  border,  is  a  statue  of  Venus  standing  upon  a  tortoise,  with  other 
figures. 

1820 —  Vecellio,  C. — 2nd  Book — See  1819 — Corona  delle  nobili  et  virtuose  donne. 
Libro  secondo.  Nel  quale  si  dimostra  in  varij  Dissegni,  tutte  le  sorti  di 
Mostre  de  punte  tagliati,  punti  in  aria,  punti  a  Eeticello,  e  d'  ogni  altra 
sorte,  cosi  per  Freggi,  come  per  Merli,  &  Eosette,  che  con  P  Aco  si  usano 
hoggidi  per  tutta  PEuropa.  Et  molti  delle  quali  Mostre  possono  servire 
anchora  per  Opere  a  Mazzette.  Aggiuntivi  in  questa  Quarta  Impressione 
molti  bellissimi  dissegni  non  mai  piu  veduti.  Con  Privilegio.  In  Vene- 
tia,  Appresso  Cesar e  Vecellio,  in  Frezzaria  nelle  Case  de'  Preti.  1592.  28 
ff.,  26  plates.  The  dedication  of  this  and  the  next  book,  though  differently 
worded,  are  addressed  to  the  same  lady-  as  the  first.  This  is  dated  Jan. 
24,  1591.  Among  the  patterns  are  two  designs  for  handkerchiefs,  and  on 
the  last  plate  a  statue  of  Vesta,  within  a  point  coupe  border. 

1821 —  Vecellio,  C. — 3rd  Book — See  1819 — Corono  delle  nobili  et  virtuose  donne. 
Libro  terzo.  Nel  quale  si  dimostra  in  varii  dissegni  molte  sorti  di  Mostri 
di  Punti  in  Aria,  Punti  tagliati,  Punti  a  reticello,  and  ancora  di  picciole; 
cosi  per  Freggi,  come  per  Merli,  &  Eosette,  che  con  P  Aco  si  usano  hog- 
gidi per  tutta  l'Europa.  Con  alcune  altre  inventione  di  Bavari  all'  usanza 
Venetiana.  Opera  nouva  e  non  piu  in  luce.  Con  privilegio.  In  Venetia 
Appresso  Cesare  Vecellio,  sta  in  Frezzaria  nelle  Case  de'  Petri.  1592. 
Dedication  dated  June  15,  1591.  Vecellio  says  he  has  added  "alcune  in- 
ventioni di  bavari  all'  usanza  nostra."  In  the  copy  (Bib.  de  PArsenal. 
11,955  bis)  are  added  instructions  to  transfer  the  patterns  upon  parch- 
ment without  injuring  the  book.  The  last  plate  shows  how  to  reduce  the 
patterns  and  how  to  prick  them.  This  is  sometimes  given  at 
the  end  of  the  first  book  instead  of  the  third.  28  ff.,  26  plates,  two  of  bavari. 
On  PI.  27,  woman  with  a  torch  and  Cupid.  At  PL  28,  in  a  point  coupe  bor- 
der, is  a  fox  holding  the  bust  of  a  lady,  the  conceit  of  which  is  explained 
by  the  verses  that  sense  is  better  than  beauty: — La  Corona  de  Vecellio 
est  de  beaucoup  le  plus  important  et  le  plus  celebre  des  livres  offrant  des 
modeles  de  dentelles.  Cette  quatrieme  edition  est  plus  complete  que  les 
precedentes.  Les  trois  parties  renferment  respectivement  27.26  et  28 
planches.  Foulc  Sale,  Paris,  June,  1914,  frs.  980.  Le  Gioiello  ne  parut 
que  Pannee  suivante.    Bib.  de  PArsenal.    V.  &.  A.  M. 

1822 —  Vecellio,  C. — [Another  edition.]  In  Venetia,  Appresso  Cesare  Vecellio, 
in  Frezzaria  nelle  Case  de'  Preti,  1593.    See  1819.    B.  K.  M. 

1823 —  Vecellio,  C. — [Another  edition.]  In  Venetia,  Appresso  Cesare  Vecellio, 
in  Frezzaria  nelle  Case  de  i  Preti,  1593.  (Ongania  reproduction.)  See 
1819. 

1824 —  Vecellio,  Cesare — Grioello  della  corona  per  le  nobili  e  virtuose  donne.  Libro 
quarto.  Nel  quale  si  dimostra  altri  nuovi  bellissimi  Dissegni  di  tutte  le 
sorte  di  Mostre  di  Punti  in  Aria,  Punti  tagliati  &  Punti  a  Eeticello  ;  cosi 
per  Freggi,  come  per  Merli,  &  Eosette,  che  con  PAco  si  usano  hoggidi  per 


BIBLIOGRAPHY 


381 


tutta  V  Europa.  Et  molte  delle  quali  mostre  possono  servire  anchora  per 
opere  a  Mazzette  Nuovament  posto  in  luce  con  molte  bellissime  inventioni 
non  mai  piu  usate,  ne  vedute.  Con  privilegio.  In  Venetia,  Appresso  Ce- 
sare Vecellio,  in  Frezzaria  nella  Casa  de  i  Preti.  1594.  Same  impresa  of 
the  stork  and  serpent.  Dedicated  to  the  Sign.  Isabella  Palavicina  Lupi 
Marchesa  di  Soragana,  dated  "Venetia  alii  20  Novembrio  1592.' '  Cesare 
Vecellio.  30  plates.  P.  78.  (Part  4  of  the  " Cor ona"  with  which  it  is 
often  bonnd  np.)  Vecellio,  author  of  the  Corona  and  Gioiello,  also  pub- 
lished a  work  on  costume  styled  Degli  Habiti  Antichi  et  Moderni.  In  Ve- 
nezia,  1590.  Presso  Damian  Zenero.  In  the  frontispiece  is  a  salaman- 
der; on  the  last  leaf  a  figure  of  Vesta.  It  has  been  reproduced  by  F.  Didot, 
Paris.  The  Bib.  de  1 'Arsenal  possesses  two  copies  of  the  Corona.  The 
Library  of  Eouen  (No.  1,315)  has  a  volume  containing  the  Corona  and 
Gioiello.  Book  1  "quarta  Imp.,"  Book  2  "ultima,"  both  dated  1594;  and 
Book  3  "quinta,"  1593.  The  Gioiello,  1593.  In  the  Bodleian  is  a  copy  of 
the  three  books,  date  1592 ;  and  another,  date  1561,  was  in  the  possession 
of  the  late  Mrs.  Dennistoun  of  Dennistoun.  At  Venice,  in  the  Doge's  Li- 
brary, is  a  volume  containing  the  three  books  of  the  Corona  and  the  Gio- 
iello, dated  1593.  Mrs.  Stisted,  Bagni  di  Lucca,  also  possesses  the  three 
books  of  the  Corona,  dated  1597,  and  the  Gioiello,  1592.  At  Bologna  the 
Library  has  one  volume,  containing  the  first  and  second  books  only,  evi- 
dently the  original  impressions.  The  titles  are  the  same  as  the  above,  only 
to  each  is  affixed,  • '  Opera  nuova  e  non  piu  data  in  luce, ' '  and  ' '  Stampata 
per  gli  Hered'  della  Regina.  1591.  An  instantia  di  Cesare  Vecellio,  Sta 
in  Frezzaria."  The  same  Library  also  possesses  a  volume,  with  the  three 
books  of  the  Corona,  the  first  and  third  "ottava,"  the  second  "quarta," 
and  the  Gioiello,  "nouvamente  posto  in  luce."  All  "In  Venetia  appresso 
gli  heredi  di  Cesare  Vecellio,  in  Frezzaria.  1608."  At  Vienna,  in  the  new 
Museum  for  Art  and  Industry,  is  a  copy  of  the  five  books,  dated  1601. 
Cav.  Merli  cites  from  a  copy  of  the  four  books,  dated  1600.  The  various 
impressions,  therefore,  date  from  1591  to  1608.  We  'see  these  different 
parts,  like  those  of  Vinciolo  and  all  these  old  collections,  have  been  printed 
and  reprinted  independently  of  each  other,  since  the  third  part  was  at  its 
fifth  impression  in  1593,  while  the  first,  which  ought  to  have  preceded  it, 
was  only  at  its  fourth  in  1594.  Rouen,  Bib.  Bound  in  one  vol.  with  the 
three  parts  of  the  Corona. 

1825 — Vecellio,  C. — Corona  delle  nobili  et  virtuose  donne,  Libro  Primo,  nel  quale 
si  dimonstra  in  varij  dissegni  tutte  le  sorti  di  mostre  di  punti  tagliati, 
punti  in  aria,  punti  a  reticello  e  d'ogni  altra  sorte,  cosi  per  Freggi,  come 
per  Merli  et  Rosette  che  con  laco  si  usano  hoggidi  per  tutta  1 'Europa.  Et 
molte  delle  quali  mostre  possono  servire  ancora  per  Opere  a  Mazetti.  Ag- 
giuntovi  in  questa  quarta  Impressione  molti  bellissimi  dissegni  non  mai 
piu  veduti.  Meme  marque  d'imprimerie  que  dans  le  livre  premier  meme 
libelle  du  privilege  avec  la  date  de  1595,  au  lieu  de  1591.  Meme  dedicace. 
Meme  gravure  sur  bois.  Corona  del  nobili  et  virtuose  donne,  Libro  sec- 
ondo,  nel  quale  si  dimostra  in  varij  dissegni  tutte  le  sorti  di  mostre  de  punti 
Tagliati,  punti  in  aria,  punti  a  Reticello,  e  d'ogni  altra  sorte,  cosi  per 


382 


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Freggi,  come  per  Merli  et  Eosette,  che  conl'aco  si  usano  hoggidi  per  tutta 
l'Europa.  Et  molte  delle  quali  mostre  possono  servire  ancora  per  Opere 
a  Mazetti.  Aggiuntovi  in  questa  quarta  Impressione  molti  bellissimi  dis- 
segni  non  mai  piu  veduti.  Meme  marque  d'imprimerie,  meme  libelle  du 
privilege,  avec  la  date  de  1597,  au  lieu  de  1591.  Meme  dedicace  que  dans 
le  livre  deux.  A  la  fin  une  figure  dans  un  medaillon  avec  le  mot  Vesta  dans 
un  encadrement  de  dentelles.  Corona  delle  nobili  et  virtuose  donne,  Libro 
Terzo,  nel  quale  si  dimostra  in  varij  dissegni  tutte  le  sorti  di  Mostre  di 
punti  tagliati,  punti  in  aria,  punti  a  Eeticello  e  d'ogni  altra  sorte,  cosi  per 
Freggi  come  per  Merli  et  Eosette,e,  che  conl'aco  si  usano  hoggidi  per  tutta 
l'Europa.  Con  alcune  altre  nuove  inventioni  di  Bauari  all  uzanza  Vene- 
tiana.  Opera  nuova  e  non  piu  data  in  luce.  Meme  marque  d'imprimerie 
que  dans  le  livre  premier,  meme  libelle  du  privilege  avec  la  date  de  1597, 
au  lieu  de  1591.  Meme  dedicace  que  dans  le  livre  trois.  A  la  fin  une  figure 
en  medaillon  dans  un  cadre  de  dentelles  representant  le  renard  et  le  buste 
accompagnee  d'un  sixain.  Gioiello  della  Corona  per  le  nobile  e  virtvose 
donne,  Libro  quarto,  nel  quale  si  dimostra  altri  nuovi  bellissimi  disegni,  di 
tutte  le  sorti  di  Mostre,  di  punti  in  aria  punti  Tagliati,  et  punti  a  Eeticello 
cosi  per  Freggi  come  per  Merli  et  Eosette  che  con  laco  si  usano  hoggidi  per 
tutta  Europa,  et  molte  delle  quali  mostre  possono  servire  ancora  per  opere 
a  Mazetti,  nouamente  posto  in  luce  con  molto  bellissimi  inventioni  non  mai 
piu  usate  ne  vedute.  Meme  marque  d'imprimerie  que  dans  le  livre  pre- 
mier. Meme  libelle  du  privilege  avec  la  date  de  1596.  Dedicace:  Alia 
illustrissima  sig-ra  Padrona  Colendissima  la  sig.  Isabella  Pallavicina 
Lvpi  marchesa  meritissima  di  Soragna.  Finissant  au  verso  par  les  mots : 
Di  Venetia  alii  20  novembrio  1592,  et  signee:  Cesare  Vecellio.  Puis  com- 
mencent  les  broderies.    Vente  Benedetto  Maglione.    Paris,  1894. 

1826 —  Vecellio,  C. — Corona  delle  nobili  et  virtuose  donne.  Libro  quinto.  Nel 
quale  si  contengono  molti,  &  varij  Dissegni  di  diuersi  sorti,  &  specialmente 
che  seruono  per  Bauari  ch'  in  Venetia  si  costumano,  &  in  molte  altre  parti 
del  mondo.  Opera  molto  vtile.  .  .  .  Nuouamente  posto  in  Ivce.  Con  privi- 
legio.  In  Venetia,  appresso  Cesare  Vecellio, in  Frezaria  nelle  Case  de 
Reuer.  Preti  di  S.  Moise.  1596.  4°.  10  cuts. 

1827 —  Vecellio,  C. — Corona  delle  nobili  et  virtuose,  etc.  1596.  Ongania  Eepro- 
duction  of  No.  1826. 

1828 —  Vecellio,  C. — Corona  delle  nobili  et  virtvose  donne,  Libro  primo,  nel  quale 
si  dimostra  in  varij  dissegni,  tutte  le  sorti  di  Mostre,  Punti  tagliati,  punti 
in  aria,  punti  a  reticello,  et  d'ogni  altra  sorte  cosi  per  Freggi,  come  per 
merli  et  Eosette  che  con  laco  si  usano  hoggidi  per  tutta  Europa.  Et  molte 
delle  quali  mostre  possono  servire  ancora  per  Opere  a  Mazette.  Aggiutoui 
in  questo  quarta  impressione  molti  bellissimi  disegni  non  piu  verduti. 
Meme  exemplaire  que  le  precedent  avec  des  differences  insignifiantes  prin- 
cipalement  dans  les  cotes.  Vente  Piot,  1879.    Bibliotheque  Nationale. 

1829 —  Vecellio,  C. — Corona  delle  Nobili  et  virtvose  donne,  Libro  Primo  nel  quale 
si  dimostra  in  varij  dissegni,  tutte  le  sorti  di  Mostre,  di  punti  tagliati, 
punti  in  aria,  punti  a  reticello,  a  d'ogni  altra  sorte  cosi  per  Freggi,  come 
per  Merli  et  Eosette,  che  con  laco  si  usano  hoggidi  per  tutta  l'Europa. 


BIBLIOGRAPHY 


Aggiuntoui  in  questa  quarta  impressione  molti  bellissimi  dissegni  non  mai 
piu  verduti.  Meme  exemplaire  que  celui  decrit  ci-dessus  avec  cette  seule 
difference  que  le  libelle  du  privilege  en  est  date  de  1598.  Vente  Yemenitz, 
1867.    Vente  Bancel,  1882. 

1830 —  Vecellio,  C. — Corona  delle  nobili  et  virtvose  donne,  Libro  primo,  nel  qual  si 
dimostra  in  varij  dissegni  tutte  le  sorti  di  Mostre  di  punti  tagliati,  punti  in 
aria,  punti  a  reticello  e  d'ogni  altra  sorte  cosi  per  Freggi  come  per  Merli 
et  Bosette,  che  con  Paco  si  vsano  hoggidi  per  tutta  PEuropa.  Et  molte 
delle  quali  mostre  possono  seruire  ancora  per  opere  a  Mazette.  Agguiun- 
toui  in  questa  quarta  impressione  molti  bellissimi  dissegni  non  mai  piu  ve- 
duti, Con  privilegio.  Meme  exemplaire  que  celui  decrit  ci-dessus  avec  cette 
seule  difference  que  le  libelle  du  privilege  est  date  de  1600. 

1831 —  Vecellio,  C. — Corona  delle  nobili  et  virtvose  donne,  Libro  primo  nel,  qual 
si  dimostra  in  varij  dissegni,  tutte  le  sorti  di  Mostre  di  punti  tagliati,  punti 
in  aria,  punti  a  Beti  cello  e  d'ogni  altra  sorte,  cosi  per  Freggi,  come  per 
Merli  et  Bosette,  che  con  Paco  si  usano  hoggidi  per  tutta  PEuropa.  Et 
molte  delle  quali  mostre  possono  seruire  ancora  per  opera  et  Mazette.  Ag- 
giontavi  in  questa  ottaua  impressionne  molti  bellissimi  dissegni  non  piu 
veduti.  D'apres  l'enonce  du  titre  cette  edition  serait  la  huitieme.  Meme 
exemplaire  que  celui  decrit  ci-dessus  avec  cette  seule  difference  que  le 
libelle  du  privilege  est  date  de  1600.    Bibliotheque  Nationale. 

1832 —  Vecellio,  C. — [Another  edition.]  In  Venetia,  Appresso  Cesare  Vecellio,  in 
Merzaria,  1600.     (Ongcmia  reproduction.)    See  1831. 

1833—  Vecellio,  C— Corona  Delia  Nobili  /  /  Et  Virtuose  Donne  /  /  Libro  Primo 
/  /  Nelqual  fi  dimoftra  in  varij  Diffegni,  tutte  le  f orti  di  Moftre  di  punti 
tagliati  /  /  punti  in  aria,  punti  a  Beticello,  e  d'ogn 'altra  forte  con  per 
Fregi,  come  per  /  /  Merli,  e  Bofette,  che  con  PAco  fi  ufano  hoggidi  per 
tutta  P  Europa  /  /  Et  Molte  delle  quali  Mostre  Poffono  feruire  ancora 
per  Opere  a  Mazette  /  /  Aggiontoui  in  quefta  Ottaua  Imprefsione  molti 
bellif simi  Diffegni  non  piu  veduti  /  /  Con  Privilegio  /  /  In  Venetia.  Ap- 
preffo  Cefare  Vecellio,  in  Merzaria  1601  /  /  Metro  Mus. 

1834 —  CoronaDelle  Nobili  /  /  Et  Virtuose  Donne  /  /  Libro  Terzo.  Metro. 
Mus.    See  1833. 

1835 —  Corona  Delle  Nibili  /  /  Et  Virtuose  Donne  /  /  Libro  Quarto.  Metro. 
Mus.    See  1833.    B.  K.  M. 

1836 —  Vecellio,  C. — [Another  edition.]  In  Venetia,  Appresso  gli  heredi  di  Cesare 
Vecellio,  in  Merzaria.  1608.   See  1833.  V.  &  A.  M. 

1837 —  Vecellio,  C. — Corona  delle  nobile,  et  virtuose  Donne.  Libro  primo,  Ve- 
netia, 1592.  Grioiello  della  Corona  per  le  nobili,  et  virtuose  Donne,  Libro  se- 
condo,  1592 ;  Libro  terzo,  1592.  Libro  quarto,  Venetia,  1608.  4  parts  com- 
plete. Obi.  8vo.  Venice,  1592-1608.    S.  K.  M. 

1838 —  Vecellio,  C. — Corona  delle  nobile,  etc.  Another  edition  (imperfect)  of 
part  4.    See  No.  1837.    S.  K.  M. 

1839 —  Vecellio,  C. — Facsimile  reprint  of  the  above.  Libro  primo,  ed.  1600.  Libro 
secondo,  ed.  1600,  Libro  terzo,  ed.  1600,  Libro  quarto  ed.  1593.  Ongania, 
Venice,  1876.  S.  K.  M.  See  1837.   Metro  Mus. 


384 


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1840 —  Vecellio,  C. — Another  facsimile  reprint  of  the  Libro  primo  ed.  1600,  with 
title  of  edition.  1593.  Ongania,  Venice,  1879.   S.  K.  M. 

1841 —  Vecellio,  C. — Another  edition  or  early  reprint  of  the  Libro  terzo  of  the 
same  work  published  "in  Venetia,  Appreso  Alessandro  de  Vecchi,  1620." 
Obi.  8vo.  Venice,  1620.   S.  K.  M. 

1842 —  Vecellio,  C. — Corona  delle  nobili  et  virtvose  donne,  Libro  Primo,  nel  quale 
si  dimostra  in  varij  dissegni  tutte  le  sorte  di  mostre  di  punti  tagliati, 
punti  in  aria,  punti  Fiamenghi,  punti  a  Eeticello,  e  d'ogni  altra  sorte,  cosi 
per  Freggi,  per  Merli  et  Eosette  che  con  l'aco  si  usano  hoggidi  per  tutta 
l'Europa.  Et  molte  delle  quali  mostre  possono  seruire  ancora  per  Opere 
Mazette,  con  la  dichiarationi  a  le  mostre  a  lauori  fatti  da  Lugretia 
Eomana.  Au-dessous  de  ce  titre  une  gravure  sur  bois  representant  une 
femme  debout  sur  une  tortue,  de  face,  une  main  tenant  un  peloton  de  til, 
1 'autre  main  levee  en  Pair  1 'index  etendu.  Au  fond  deux  femmes  assises, 
travaillant  a  1 'aiguille  et  un  sculp teur  a  une  statue.  Cette  composition  est 
entouree  en  haut  et  sur  les  cotes  de  bandes  de  guipures.  Au-dessus  de  ce 
bois  on  lit:  Conviensi  che  la  donna  la  bonta  et  non  la  bellezza  sia  divul- 
gata.  Au-dessous  de  la  gravure :  In  Venetia  appresso  Alessandro  de  Vecchi 
1620.  Vendesi  in  Eoma  al  magazino  della  Venetia.  Dedicace:  Alia 
Clarissima  et  illustrissima  signoraViena  Vendramina  Nani.  Finissant  au 
verso  par  les  mots :  Di  Venetia  el  di  20  marzo,  1591,  et  signee  Cesare  Ve- 
cellio. Un  cartouche  ovale  contenant  le  portrait  de  Marie  d'Aragon,  de 
profil  a  gauche.  Coiffee  d'une  resille,en  buste,  pose  sur  un  piedouche.  Au 
bas  du  chignon  a  droit e,  dans  interieur  de  1 'ovale  du  cartouche,  une  cou- 
ronne,  au  tour  de  la  bordure  du  medallion,  on  lit :  D.  Maria  Aragonia.  Ce 
cartouche  est  ornemente  de  grotesques,  d'anges  ailes,  de  chimeres.  Au 
bas  est  une  tablette  sur  laquelle  on  lit :  Aetatis  suae  anno.  XXXIX.  A 
droite  et  a  gauche  des  bordures  verticales  de  guipures,  En  haut  du  car- 
touche on  lit :  Conviensi  che  la  donna,  la  bonta  et  non  la  Bellezza  sia  divul- 
gata.  Eien  au  verso.  Puis  commencent  les  broderies.  Chaque  planche 
porte  en  haut  la  mention  du  genre  de  broderies  represente,  et  en  bas  Pu- 
sage  qu'on  en  fait  et  la  partie  desvetements  a  laquelle  cette  broderie  est  des- 
tinee.  Corona  delle  nobili  et  virtvose  donne,  Libro  secondo,  nel  quale  si 
dimostra  in  varij  dissegni  tutte  le  sorti  di  mostre  di  punti  tagliati,  punti 
in  aria,  punti  Fiamenghi,  punti  a  Eeticello,  e  d'ogni  altra  sorte,  cosi  per 
Freggi,  per  Merli  e  Eosette,  che  con  l'aco  si  usano  hoggidi  per  tutta  P- 
Europa.  Et  molte  delle  quali  mostre  possono  servire  ancora  per  opere  a 
Mazette  con  le  dichiarationi  a  le  mostre  a  lavori  fatti  da  Lugutia  Eomana. 
Meme  gravure  sur  bois  que  ci-dessus  premiere  partie.  On  lit  au-dessous : 
In  Venetia  appresso  Alessandro  de  Vecchi  1617.  Si  Vendono  in  Venetia 
al  Ponte  de  Baretteri,  alia  libreria  delle  tre  Eoie.  Dedicace :  Alia  Claris- 
sima et  illustrissima  signora  Viena  Vendramina  Nani.  Finissant  par  la 
date  de  1591  et  la  signature  Cesare  Vecellio.  Page  avec  le  buste  de  Marie 
d'Aragon  decrit  ci-dessus  premiere  partie.  Puis  commencent  les  brode- 
ries. Corona  delle  nobili  et  virtuose  donne,  Libro  Terzo,  nel  qual  si  dimo- 
stra in  varij  dissegni  tutte  le  sorti  di  Mostre  di  punti  tagliati,  punti  in  aria, 
punti  Fiamenghi,  punti  a  Eeticello  et  d'ogni  altra  sorte,  cosi  per  Freggi, 


BIBLIOGRAPHY 


385 


per  Merli  et  Bosette,  che  con  l'aco  si  usano  per  tutta  l'Europa,  et  molte 
delle  quali  mostre  possono  servire  ancora,  per  opere  a  Mazette,  con  le  de- 
chiarationi  a  le  mostre  a  lavori  fatti  da  Lugretia  Bomana.  Au-dessous  de 
ce  titre  meme  gravure  snr  bois  que  ci-dessus  premiere  partie.  Au-dessous 
de  cette  gravure :  In  venetia  appresso  Alessandro  de  Vecchi  1620.  Si 
Vendono  in  Venetia,  al  Ponte  de  Barettori,  alia  Libreria  delle  tre  Boie. 
Dedicace:  Alia  Clarissima  et  illustrissima  signora  Viena  Vendramina 
Nani.  Finissant  par  la  date  1591  et  la  signature  Cesare  Vecellio.  Puis 
commencent  les  broderies.    B.  M. 

1843 —  Vecellio,  C. — Corona  delle  nobile  et  Virtuose  donne,  Libro  prime  nel  quale 
si  dimostra  in  varij  dissegni  tutte  le  sorti  de  Mostre  di  punti  Tagliati,  punti 
in  aria,  punti  Fiamenghi,  punti  a  reticello,  a  d'ogni  altra  sorte,  cosi  per 
Freggi,  per  Merli  et  Bosette,  che  con  l'aco  si  usano  hoggidi  per  tutta  1'- 
Europa.  Con  le  dechiarationi  a  le  mostre  a  lavori  fatti  da  Lugutia  Bom- 
ana. Au-dessous  du  gravure :  In  Venetia  Appresso  Alessandro  de  Vecchi 
MDCXXV.  Si  Vendone  in  Venetia  al' Ponte  de  Baretteri,  alia  Libreria 
delle  tre  Boie.  Meme  dedicace,  meme  cartouche  avec  le  buste  de  Marie  d'- 
Aragon  que  dans  la  premiere  partie  du  numero  ci-dessus,  memes  cotes  des 
pages.  La  seconde  partie  a  le  meme  titre,  la  meme  marque  d'imprimerie, 
le  meme  privilege,  la  meme  dedicace  que  ci-dessus.  Puis  commencent  les 
broderies.  La  troisieme  partie  a  le  meme  titre,  la  meme  marque  d'im- 
primerie, le  meme  privilege,  la  meme  dedicace  que  ci-dessus.  Puis  com- 
mencent les  broderies.  La  quatrieme  partie  a  le  meme  titre,  la  meme  mar- 
que d'imprimerie,  le  meme  privilege,  la  meme  dedicace  que  ci-dessus.  Puis 
commencent  les  broderies.  Ce  volume  comprend  116  feuillets.  Les  trois 
premieres  parties  en  ayant  28  chacune,  et  la  quatrieme  32.  In  Emmanuel 
Bocher's  opinion  this  is  the  same  book  as  that  of  the  same  title  and  date 
listed  under  Lucretia  Bomana :  here  described  in  greater  detail,  especially 
with  reference  to  the  different  parts.  Vente  Destailleurs,  1895.  Biblio- 
theque  imperiale  de  Vienne. 

1844 —  Vecellio,  Cesare — Corona  delle  Nobili  et  Virtuose  Donne,  libro  primo.  Nel 
quale  si  dimostra  in  varii  Dissegni  tutte  le  sorti  di  Mostre  di  punti  tag- 
liati, punti  in  Aria,  punti  Fiamenghi,  etc.,  cosi  per  Freggi,  per  Merli,  e  Bo- 
sette, che  con  PAco  si  usano  hoggidi  per  tutta  l'Europa.  In  Venetia,  Ap- 
presso Alessandro  de'  Vecchi,  1625.  Oblong  8vo,  woodcut  on  title,  portrait 
of  Lucretia  Bomana,  and  24  woodcut  pages  of  designs  for  lace  and  needle- 
work, half  calf .  Ellis  (London)  Cat.  No.  177,  1918.  See  note  above,  and 
No.1110  by  Lucretia  Bomana. 

1845 —  Vecellio,  Cesare — Corona  delli  nobili  et  virtuse  donne.  1630,  reprinted 
1879. 

1846 —  Vecellio,  Cesare — Costumes  anciens  et  modernes.  Habiti  antichi  e  mor- 
derni,  etc.   Paris,  Fernin  Didot  f  reres  et  fils,  1859-1860. 

1847 —  Vecelli,  C. — Die  Krone  der  kunstfertigen  Frauen.  1691.  Berlin,  1891.  In 
British  Museum. 

1848 —  Venetian  Patterns — 12  leaves  of  woodcut  designs,  each  with  headings  from 
a  16th  century  Lace  pattern  book.    Sm.  4to.  n.d.   S.  K.  M. 

1849—  Venetian  Point  Lace.  Delineator,  V.  64,  pp.  116-117,  July,  1904. 


386 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1850 —  Venetian,  16th  Cent. — Fur  Passementerie  Arbeiten  und  verwandte  Tech- 
niken.  Nach  dem  Original-must erbuche  im  Besitze  der  Bibliothek  des 
k.k.    Oesterr.    Museums  .  .  .  Obi.  8vo,  Wien,  1879.   S.  K.  M. 

1851 —  Venetianer  Spitzen  (Punto  tirati)  aus  dem  16.  Jahrhundert.  Blaetter 
fur  Kunstgewerbe,  1879,  Vienna. 

1852 —  Vera  perf ezione  del  disegno,  La,  etc.  Sm.  obi.  4to.  Venice,  F.  Senese, 
1591.  23  tracings  of  the  patterns.    See  Clerget.   S.  K.  M. 

1853 —  Vereeniging  "De  Nederlandsche  Kantwerkschool"  te's  Gravenhage. 
Verslag  over  1902,  tot  September,  1903.  Amsterdam,  van  Ipenbuur  &  van 
Seldam,  n.d. 

1854 —  Verein  zur  Hebung  der  Spitzenindustrie  in  Osterreich.  Kunst  und  Kunst- 
handiverk,  1904. 

1855 —  Vere,  O'Brien,  Mrs.  Robert — Limerick  Lace.  Irish  Homestead,  August, 
1897. 

1856 —  Verhaegen,  Pierre — L  'Industrie  dentelliere  en  Belgique.  La  Reforme 
sociale,  May  16,  1902.  Paris. 

1857 —  Verhaegen,  Pierre — Les  Industries  a  domicile  en  Belgique,  T.  IV,  La  Den- 
telle  et  la  Broderie  sur  tulle,  2  vol.  Brussels,  Office  de  Public,  et  Societe 
beige  de  librairie,  1902.  B.  M. 

1858 —  Verhaegen,  Pierre — Royaume  de  Belgique,  Ministere  de  Plndustrie  et  du 
Travail,  Office  du  Travail.  Les  Industres  a  Domicile  en  Belgique,  Bruxelles 
1902.  Vol.  IV  &  V,  La  Dentelle  et  la  Broderie  sur  Tulle,  Tomes  1  et  2. 
Published  by  J.  Lebeque  &  Cie.,  Brussels,  rue  de  la  Madeleine  46,  1902;  or 
Oscar  Schepens  &  Co.,  Rue  Treurenberg,  16,  Brussels. 

1859 —  Verkauf  inlandischer  Spitzen.    Kunst  und  Kunsthandiverk,  1903,  Vienna. 

1860 —  Verneuil,  M.  P. — Un  concours  de  napperons  a  1 'Union  centrale  des  Arts 
decoratifs.  Art  et  decoration,  1903,  Paris. 

1861 —  Verneuil,  P. — L'Ecole  de  Dentelles  de  Vienne.  Art  et  decoration,  1903, 
V.  14,  pp.  265-272. 

1862 —  Verwaetermeulen,  Ant. — Bloemwerk-Valencijnsch  Kantwerk  te  Teper.  La 
revue  Bishorf.    Termes,  August,  1902.  Bruges,  Annee  1901,  No.  10  et  18. 

1863 —  V. — H — Les  Dentelles.  Histoire.  Fabrication,  etc.  Journal  des  Dames  et 
des  Demoiselles,  1859-1860  Brussels. 

1864 —  Vienne  Exhibition,  1873 — Rapport  de  la  Delegation  ouvriere  frangaise. 
Rapport  du  Delegue  Lyonnaise  sur  la  Passementerie  a  la  barres.  8vo, 
Paris,  1874.  S.  K.  M. 

1865 —  Vigouroux,  Louis — Rapport  fait  au  nom  de  la  Commission  du  Commerce 
et  de  1 'Industrie  chargee  d 'examiner  la  proposition  de  loi  de  M.  Fernand 
Engerand,  relative  a  l'apprentissage  de  la  dentelle  a  la  main.  Chambre 
des  Deputes,  June  12,  1903,  Paris. 

1866 —  Vigouroux,  Louis — La  Dentelle  a  la  Main.  Revue  Bleue,  Feb.  11,  1905, 
Paris. 

1867 —  Villedon  de  Courson,  Ctesse  de — La  Dentelle.  Mois  litteraire  et  pitto- 
resque,  February,  1904,  Paris. 

1868 —  Vinciolo,  Federic — Les  excellents  eschantillons,  patrons  et  modelles  du 
Seigneur  Federic  de  Vinciolo  Venitien,  pour  apprendre  a  faire  toutes 
sortes  d'ouvrages  de  Lingerie,  de  Poinct  couppe,  grands  et  petits  passe- 


BIBLIOGRAPHY 


387 


ments  a  jour,  et  dentelles  exquises.  Dediez  a  la  Royne.  A  Paris.  Chez 
la  Veufve  Jean  le  Clerc,  rue  Sainct  Jean  de  Latran,  a  la  Salamandre  Ro- 
yalle.  Avec  Privilege  du  Roy,  1623.  In  4to,  56  ff.  The  old  frontispiece 
and  same.  Page  Aij.  Avertissement  au  lecture.  Au  verso,  4  vers  dans 
le  bas  de  la  page.  Dedication  to  the  Queen,  Anne  of  Austria.  The  God- 
dess Pallas  invented  "les  ouvrages  de  lingerie,  le  poinct  couppe,  les  grands 
and  petits  passements  a  jour,  toutes  sortes  de  dentelles,  tant  pour  se  de- 
sennuyer  que  se  parer,  par  P artifice  de  ses  ingenieuses  mains.  Aracine 
s'y  adonna,  and  bien  qu'inferieure  se  voulant  comparer  a  elle  &  en  venir  a 
Pexperience,  mais  sa  presomption  fut  chastise."  Many  illustrious  ladies 
have  delighted  in  this  "honneste  exercise.' '  Fastrade  and  Constance, 
wives  of  the  Emperor  Charlemagne  and  of  King  Robert,  ' 1  s  'employerent 
de  cette  manufacture,  and  de  leurs  ouvrages  ornerent  les  eglises  &  les 
autels."  This  royal  "mestier"  has  reached  perfection  through  the  works 
of  Vinciolo.  I  reprint  and  again  increase  his  work,  which  I  dedicate  to 
your  Majesty,to  whom  I  presume  they  will  be  agreeable;  the  subject  of 
which  it  treats  is  6  i  une  invention  de  deesse  &  une  occupation  de  Royne — 
vous  estant  autant  Royne  des  vertus  que  vous  Pestes  de  deux  royaumes." 
Signed,  " La  Veufve  de  feu  lean  le  Clere."  Page  Aiiij.  Same  Sonnet  aux 
Dames  et  Damoiselles.  Au  verso  extrait  du  Privilege.  Puis  commencent 
les  broderies.  Page  Oiiij,  Alphabet.  Privilege  for  six  years,  dated  Paris, 
last  day  of  March,  1623.  55  rT.,  58plates,  24  ouvrages  de  point  couppe  and 
8  of  " Passements  au  fuzeauM  and  alphabet.  Cat.  d'Estrees.  Bibliotheque 
Nationale,  Bib.  Imp.  Grav.    Brussels  Bib.  Royal. 

1869 —  Vinciolo,  F. — New  Modelbuch  darinen  allerly  Goettung  schoner  Modeln  der 
newen  auss  geschitnen  arbeit  auff  Kragen  Hempter,  Jakelet  und  Der- 
gleichen  zu  newen,  so  zuvor  in  Teutschlandt  nicht  geschen.  Saint  Gall, 
1593.  In-4°.  Traduction  du  3°  livre  de  Vinciolo. 

1870 —  Vinciolo,  F. — New  Modelbuch  Von  allerhand  sonderbarn  schonen  Modeln 
von  der  jetzt  gebreuchliche durch  geschnittener  Arbeit.  Durch  H.  Vin- 
ciolo ein  Venediger  angeordnet,  Yetzt  aber  alien  Frawen,  Jungfrawen, 
Naherin  vnd  dergleichen  Kunstgeflissenen  Personen  zu  sondern  verstand 
auffs  new  mit  vermehrung  vnd  besserung  viler  schonen  vnd  lustiger  Mod- 
eln in  Truck  gef ertiget  vnd  an  tag  gebracht.  Mit  Rom :  Keyserlicher 
Mayestat  Freyheit.  GetrucM  zu  Strassburg  bey  B.  Jobins  Erben.  An. 
1596.  4°.  Titlepage,  2  pp.  text  (a  poem  signed  J.  D.  E.),  cuts.  V.  &  A.  M. 

1871 —  Vinciolo,  F. — Les  secondes  oewres  et  svbtiles  inventions  de  lingerie  du 
seigneur  Federic  de  Vinciolo  Venitien,  dediees  a  Madame,  sceur  uniqve  du 
Roy.  Ou  sont  representees  plusieurs  figures  de  reseau,  nombre  de  carrez 
tous  differents  le  tout  de  poinct  conte  auec  autres  nouuelles  sortes  de  bor- 
dures  non  encore  veues.  A  Paris,  Par  lean  Le  Clers  rue  Sainct  Jean  de 
Latran,  a  la  Salemendre,  1594.  Auec  Privilege  du  Roy.  Ce  titre  est 
au  milieu  d'un  encadrement  en  haut  duquel  on  voit  dans  un  ecusson  en  lo- 
sange,  surmonte  d'une  couronne  royale,  les  armes  de  France  et  de  Navarre 
avec  une  cordeliere  de  veuve.  Des  deux  cotes  de  cet  ecusson  une  femme 
tenant  un  metier  sur  ses  genoux.   Au-des-sous  sur  les  cotes  verticaux  de 

i         Pencadrement,  a  droite  et  a  gauche,  un  enfant  dans  des  rinceaux.   En  bas 


388 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


deux  autres  enf ants  couches  et  au  milieu  un  cartouche,  dans  lequel  on  lit : 
Auec  Privilege  du  Eoi.  Aij,  avertissements  au  lecteur.  Au  verso  le  por- 
trait de  Catherine  de  Bourbon,  de  trois  quart  a  gauche,  une  fraise  autour 
du  cou,  deux  colliers  sur  la  poitrine.  Medaillon  ovale,  sur  la  bordure 
duquel  on  lit:  Catherine  de  Bovrbon,  sceur  unieque  du  Roy.  Aiij,  ded- 
icace.  Verso  un  sonnet.  Page  non  cotee,  sonnet  aux  Dames  et  Damoi- 
selles.  V erso,  Extrait  du  Privilege  date  de :  Mante  le  13  iour  de  juillet 
1593.  M.  d'Adda  dans  sa  bibliographic  mentionne  une  edition  de  1595  et 
une  de  1598. 

1872 —  Vinciolo,  F. — Les  secondes  ceurues  et  sub  tiles  inuentions  .  .  .  le  tout  de 
poinct  conte  auec  autres  sortes  de  Carrez  de  nouuelle  inuention  non  en- 
cores veus  A  Paris,  Par  lean  le  Clerc,  rue  Sainct  lean  de  Lair  an,  a  la 
Salamandre.  1599.  Portion  of  Titlepage  and  some  cuts  are  in  the  V.  &  A. 
M. 

1873 —  Vinciolo,  F.—  Les  secondes  ceuvres,  et  sub  tiles  inventions  de  Lingerie  du 
Seigneur  Federic  de  Vinciolo  Venitien ;  nouvellement  augumente  de  plu- 
sieurs  carrez  de  point  de  rebort.  Dediee  a  Madame,  sceur  unique  du  roy. 
Ou  sont  representees  plusieurs  figures  de  Reseau,  nombres  de  Carrez  et 
Bordures  tous  differents,  le  tout  de  poinct  conte,  avec  autres  sortes  de 
Carrez  de  nouvelles  inventions  non  encore  vues.  A  Paris.  Par  Jean  le 
Clerc,  rue  sainct  Jean  de  Latran,  a  la  Salemandre,  1613.  Avec  privilege 
du  Roy.  A  scarce  and  valuable  volume,  the  fullest  edition  of  the  second 
part  of  Vinciolo 's  work.  4to,  68  fL,  61  plates.  It  contains  a  Sonnet 
aux  Dames  &  Damoyselles.  The  author's  address  to  the  reader,  and  a 
Dedication  to  "Madame,  sceur  unique  du  roy"  (Catherine  de  Bourbon, 
sister  of  Henry  IV,  married,  1599,  to  the  Due  de  Bar),  signed  by  Le  Clerc. 
On  the  second  plates  are  her  arms,  a  lozenge,  France  and  Navarre  with 
crown  and  cordeliere,  and  the  same  lozenge,  also  surmounts  the  decorated 
frontispiece,  supported  on  either  side  by  a  genius  ( ?)  working  at  a  frame 
and  point  coupe  drapery.  7  Scripture  subjects :  The  Salutation,  St. 
Sacrement,  Passion,  Crucifixion,  Adoration  of  the  Kings,  etc. ;  the  number 
of  the  stitches  given  to  each.  2  Stomachers,  and  various  patterns  of  "car- 
rez" and  borders.  2  of  "Point  de  rebort."  Le  nombre  des  points  est 
partout  indique.  M.  Brunet,  Manuel  du  Libraire.  1 '  Edition  la  plus  com- 
plete de  la  deuxieme  partie  des  dessins  de  Vinciolo.  Elle  contient  outre 
les  f euillets  preliminairies,  61  planches  en  grande  partie  differentes  des  pre- 
cedentes  et  Pon  y  a  ajoute  le  discours  du  lacis  en  vers.  Nous  en  avons  vu 
un  exemplaire  date  de  1612  et  un  de  1603."  Vente  Pirovano,  Rome,  1901. 
Vente  Pichon,  1869.  Vente  Yemenitz,  1867.  Bibliotheque  publique  de 
Rouen. 

1874 —  Vinciolo,  F. — 1st  Edition,  1st  Part.  Les  singuliers  et  nouveaux  pourtraicts 
et  ouvrages  de  Lingerie  Servans  de  patrons  a  faire  toutes  sortes  de  poincts, 
couppe,  Lacis  &  autres.  Dedie  ala  Royne.  Nouvellement  inventez,  au 
promt  &  cotentement,  des  nobles  Dames  &  Damoiselles  &  autres  gen  tils  es- 
prits,  amateurs  d?un  tel  art.  Par  le  Seigneur  Federick  de  Vinciolo 
Venitien.  A  Paris.  Par  lean  le  Clerc  le  ieune,  rue  Chartiere,  au  Chef 
Sainct  Denis.    1587.   Avec  privilege  du  Roy. 


BIBLIOGRAPHY 


389 


1875 —  2nd  Part.  See  1874.  Les  singuliers  et  nouveaux  pourtraicts  et  ouvrages 
de  Lingerie  on  est  represente  les  sept  pianettes,  &  plnsienrs  antres  figures 
&  portraitz  servans  de  patrons  a  f  aire  de  plnsienrs  cortes  de  Lacis.  Nou- 
vellement  inventez,  an  profnt  &  cotentment  des  nobles  Dames  &  Damoi- 
selles  &  antres  gen  tils  esprits,  amateurs  d'un  tel  art.  Par  le  Seigneur 
Federic  de  Vinciolo  Venitien.  A  Paris.  Par  lean  le  Clere  le  ieune,  rue 
Chartiere,  an  Chef  Sainct  Denis.  1587.  Avec  privilege  dn  Eoi.  (At  the 
end.)  Privilege  for  nine  years  to  "lean  le  Clerc  le  ieune,  'taillenr  d'his- 
toires,'  a  Paris,'/  signed  27  Jnne,  1587.  "De  l'lmprimerie  de  David  la 
Clerc  Ene  Frementel  a  PEstoille  d'Or."  4to.  The  first  part  consists  of 
40  ff.,  36  of  patterns  and  4  preliminary  pages.  P.  1.  The  title-page  with 
decorated  border,  in  which  are  two  ladies  at  work.  (See  Title-page  of  this 
work.)  P.  2.  Dedication  of  "Le  Seignenr  Federic  de  Vinciolo  aux  Bene- 
volles  Lecteurs."  P.  3.  Dedication  "A  la  Eoyne,"  Louise  de  Vaude- 
mont,  by  Le  Clerc.  Signed  last  day  of  May,  1587.  P.  4.  A  Sonnet.  Then 
the  36  patterns  set  off  in  white  on  a  black  ground,  viz.,  20  "Onvrages  de 
point  Couppe,"  The  first  plate  with  the  double  AA,  according  to  the  fashion 
introduced  by  Francis  I.  of  nsing  Greek  monograms,  standing  for  Queen 
Louise.  On  the  second  page  are  two  escutcheons,  one  of  France,  the  other 
with  the  letter  H  for  Henry  III.  Then  follow  eight  "Passemens  de  point 
Couppe,"  which  are  succeeded  by  eight  more  "Ouvrages  de  point 
Couppe.' '  Part  2,  24  ff.  Same  decorated  frontispiece  and  22  plates  of 
subjects  in  squares  for  stitches  like  the  German  patterns  of  the  present 
day.  These  consist  of  the  Seven  Planets,  Sol,  Luna,  Mars,  Mercury,  Jupi- 
ter, Venus  and  Saturn.  Four  in  squares  of  various  designs;  two  of  Amo- 
rini  shooting  stags  and  birds ;  Neptune  and  the  winds ;  an  arabesque  with 
impresa  of  a  column  with  circle  and  double  triangle ;  five  borders  and 
squares,  and  two  "bordures  a  carreaux,"  diamond-shaped  meshes.  The 
last  page  contains  the  Extract  from  the  Privilege.  This  is  the  original 
edition  of  Vinciolo,  of  which  we  know  but  one  copy  existing — that  in  the 
Library  at  Eonen.  Bury-Palliser.  It  was  followed  the  same  year  by  two 
other  editions,  with  alterations.  Cette  edition,  comme  encadrement  dn 
titre,  comme  disposition  des  feuillets,  comme  cotes  des  pages,  comme  mil- 
lesime  est  identiqnement  pareille  a  celle  que  nous  venons  de  decrire  (2 
edit.)  Elle  ne  differe  que  par  Tenonce  des  deux  titres,  celui  de  la  premiere 
partie  et  celui  de  la  seconde  dont  les  redactions  ne  sont  pas  les  memes. 
Nous  donnons  ici  ces  deux  titres,  par  lesquels  on  reconnaitra  facilement 
Pedition  presente.  Quoique  portant  le  meme  millesime  cet  exemplaire  est 
bien  celui  d'une  seconde  edition  parue  la  meme  annee  1587.  On  lit  en  effet 
dans  l'enonce  du  titre  de  la  premiere  partie  .  .  .  Nouuellement  inventez 
.  .  .  &.  E.  Bocher.  Vente  Techner.  We  have  received  notice  of  there  be- 
ing a  copy  of  the  original  edition  at  Turin,  in  the  Library  of  the  Uni- 
versity.   Biblio.    Eonen.    Both  parts  in  one  vol. 

1876 —  Vinciolo,  F. — 2nd  Edition — 1st  Part.  Les  singuliers  et  nouveaux  pour- 
traicts pour  les  ouvrages  de  Lingerie.  Nouvellement  augmentez  de  plusi- 
eurs  diff erens  ponrtraits  servans  de  patrons  a  f aire  toutes  sortes  poincts 
couppe,  Lacis,  et  autres  reseau  de  poinct  conte.    Dedie  a  la  Eoyne.  Le 


390 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


tout  invente,  au  proffit  &  content ement  des  nobles  Dames  &  Damoiselles  & 
autres  gentils  esprit s,  amateurs  d'un  tel  art.  Par  le  Seigneur  Federic  de 
Vinciolo  Venitian.  A  Paris.  Par  lean  le  Clerc  le  ieune,  rue  Chartiere,  au 
Chef  Sainct  Denis,  pres  le  college  de  Coqueret,  Avec  privilege  du  Eoy. 
1587. 

1877 —  2nd  Part.  See  1876. — Les  singuliers  et  nouveaux  pourtraicts  pour  les 
ouvrages  de  Lingerie  ou  avons  augmete  plusieurs  nouveaux  &  dif- 
ferens  portraitz  de  reseau,  tout  point  conte,  plusieurs  nouvelles  bor- 
dures  et  autres  sortes  differentes.  Nouvellement  inventez  au  proffit  & 
cotentement  des  nobles  Dames  &  Damoiselles  &  autres  gentils  esprits  ama- 
teurs d'un  tel  art.  Par  le  Seigneur  Federick  de  Vinciolo  Venitian.  A 
Paris.  Par  lean  le  Olere  le  ieune,  Eue  Chartiere,  au  Chef  Sainct  Denis, 
pres  le  college  de  Coqueret.  Avec  privilege  du  Eoy.  1587.  1st  Part,  40  ff . 
The  same  frontispiece,  dedications,  date,  and  sonnet,  as  the  first,  the  same 
number  of  patterns,  only  the  eight  styled  in  the  first  "Passemens"  are 
here  all  called,  like  the  others,  "Ouvrages"  de  point  couppe.  2nd  Part,  32 
fT.  This  part  has  30  patterns,  comprising  the  24  of  the  first  edition,  and  six 
additional  ones,  consisting  of  squares  and  two  hunting  subjects.  Sur  la 
derniere  page  au  recto,  l'extrait  du  Privilege,  finissant  par  les  mots:  es 
lettres  patentes,  donnees  a  Paris,  ce  vingt  septieme  iour  de  juin  1587,  de 
l'lmprimerie  de  Dauid.  Le  Clerc  Eue  Frementel  a  l'estoile  d'or.  Vente 
Pirovano,  Eome,  1901.    Bibliotheque  Nationale. 

1878 —  Vinciolo,  F. — 3rd  Edition,  Parts  1  and  2,  No.  1 — Les  singuliers  et  nou- 
veaux Pourtraicts,  du  Seigneur  Federic  de  Vinciolo  Venitien,  pour  toutes 
sortes  d'ouvrages  de  Lingerie.  Dedie  a  la  Eoyne.  Derechef  et  pour  la  troi- 
sieme  fois  augmentez  Outre  le  reseau  premier  et  le  point  couppe  et  lacis, 
de  plusieurs  beaux  et  differens  portrais  de  reseau  de  point  cote  avec  le 
nombre  des  mailles,  choze  non  encor  venue  ni  inventee.  A  Paris.  Par 
lean  le  Clerc  le  ieune,  rue  Chartiere,  au  Chef  Sainct  Denis,  pres  le  college 
de  Coqueret,  Avec  privilege  du  Eoy.  1587.  This  must  be  the  first  im- 
pression of  the  third  edition.    Brussels,  Biblio.  Eoyal. 

1879—  Vinciolo,  F.— 3rd  Edition,  No.  2,  1st  Part— Les  Singuliers  /  /  Et  Nov- 
veaux  Pour  /  /  Traicts,  du  Seigneur  Federic  /  /  de  Vinciolo  Venitien, 
pour  toutes  /  /  fortes  d'ouurages  de  Lingerie  /  /  Dedie  a  la  Eoyne  /  / 
Derechef  et  Pour  la  /  /  Troisiesme  fois  Augmentez  /  /  outre  le  refeau 
premier  /  /  le  point  couppe  lacis,  /  /  deplufieurs  beaux  diff  erens  portrais 
de  refeau  /  /  de  point  cote,  avec  le  nombre  des  mailles,  chofe  /  /  non 
encor'  vene  ny  inuentee.  A  PAEIS  /  /  Par  lean  le  Clerc  le  Ieune,  au 
mont  Saint  /  /  Hilaire,  au  Chef  Sainct  Denis  /  /  pres  le  Clos  Bruneau 
/  /  Avec  privilege  du  Eoy.  1588.  Ire  partie.  Meme  encadrement  pour 
le  titre  que  dans  1 'edition  de  1587.  Au  verso  de  cette  page  le  portrait 
grave  sur  bois  de  Henri  III.  Dans  un  medaillon  ovale,  entoure  d'un  trait 
et  d'un  filet,  ce  portrait  est  de  face,  la  tete  de  trois  quart  a  gauche,  coiffe 
d'un  bonnet  orne  d'une  plume  sur  le  devant  et  d'un  gros  bouton  en  pier- 
rerie.  Au  cou  le  cordon  du  Saint- Esprit,  On  lit  sur  la  bordure  du  me- 
daillon :  Henri  III.  D.  G.  Franc,  et  Polon.  Eex.  Ce  portrait  se  detache  au 
milieu  d'une  couronne  formee  de  deux  branches  de  laurier,  liees  en  bas 


BIBLIOGRAPHY 


391 


par  nn  ruban.  Au-dessous,  au  bas  de  la  page  un  quatrain  entoure  sur 
trois  cotes  par  une  petite  frise  gravee  sur  bois.  Aij,  avertissement  au  lec- 
teur.  Au  verso  de  cette  page,  le  portrait  de  la  reine  Louise  de  Lorraine. 
Elle  est  de  face,  la  tete  de  trois  quart  a  droite,  une  fraise  autour  du  cou, 
manches  a  creves,  deux  rangs  de  perles  sur  la  poitrine.  Dans  la  bordure 
du  medaillon  on  lit :  Lodoica  Lotharinga  Fr.  Ee.  Le  tout  se  detache  au 
milieu  d'une  couronne  formee  de  deux  branches  de  laurier,  liees  en  bas 
par  un  ruban.  Au-dessous,  au  bas  de  la  page  un  quatrain  entoure  sur 
trois  cotes,  d'une  petite  frise  gravee  sur  bois.  Aiij,  dedicace  a  la  Eeine. 
Eien  au  verso.  Aiiij,  sonnet  aux  Dames  et  Damoiselles.  Verso.  Extrait 
du  Privilege  finissant  par  les  mots:  De  l'imprimerie  de  Dauid  Le  Clerc, 
rue  S.  Iacques  au  petit  Bee  deuant  le  college  de  Marmouttier.  Quelque 
sexemplaires  de  cette  meme  edition  de  1588  portent  a  la  fin  du  privilege 
cette  adresse  qui  differe  de  celle  ci-dessus,  De  l'imprimerie  de  David  Le 
Clerc,  rue  S.  Jacques  aux  trois  Mores,  1587.  Eien  au  verso.  Puis  com- 
mencent  les  broderies  imprimees  seulement  au  recto  des  pages.  Vente 
Destailleurs,  1895.    Metro.  Mus. 

1880 — 2nd  Part.  See  1879— Les  singuliers  et  nouveaux  pourtraicts,  du  Seigneur 
Federic  de  Vinciolo  Venitien,  pour  toutes  sortes  d'ouvrages  de  Lingerie. 
Dedie  a  la  Eoyne.  Derechef  et  pour  la  troisiesme  fois  augmentez,  outre 
le  reseau  premier  &  le  point  couppe  &  lacis,  de  plusieurs  beaux  et  differens 
portrais  de  reseau  de  point  cote,  avec  le  nombre  des  mailles,  chose  non  en- 
cor  veue,  ny  inventee.  A  Paris.  Par  lean  le  Clerc  le  ieune,  au  mont 
Saint  Hilaire,  au  Chef  Sainct  Denis,  pres  le  Clos  Bruneau.  Avec  privi- 
lege du  Eoy.  1588.  Au  verso  broderie.  Puis  commencent  les  pages  de 
broderies  au  recto  et  au  verso  sauf  quelques-unes  qui  au  verso  sont  sim- 
plement  quadrillees.  Nous  indiquerons  cette  particularite.  L,  Lij,  Liij, 
Liiij. — M,  Mij,  Miij,  Miiij. — N,  Nij,  Niij,  Niiij. — 0,  Oij,  Oiij,  Oiiij. — P, 
le  verso  de  cette  page  est  quadrille.  A  partir  de  cette  cote  tous  les  versos 
sont  quadrilles  jusqu'a  la  fin  mais  sans  dessins.  Pij,  Piij,  Piiij. — Q,  Qij, 
Qiij,  Qiiij.—R,  Bij,  Eiij,  Riiij—S,  Sij,  Siij,  Siiij. — T,  Tij,  Tiij.  Page  sui- 
vante  non  cotee.  Au  recto  un  ecusson  dans  lequel  on  voit  a  gauche  trois 
fleurs  de  lys,  puis  un  aigle,  et  un  saint  Michel  a  cheval.  L'ecusson  est  sur- 
monte  de  la  couronne  Eoyale  et  le  tout  est  entoure  de  deux  colliers,  celui 
de  saint  Michel,  et  celui  du  Saint-Esprit.  Vente  Destailleurs,  1895.  This 
must  be  subsequent  to  the  Brussels  impression,  as  Jean  le  Clerc  has 
changed  his  address.  In  the  third  edition,  dorso  of  pp.  1  and  2,  we  have 
the  addition  of  portraits  of  Louise  de  Vaudemont  and  Henry  III.,  with  a 
complimentary  stanza  of  four  lines  under  each.  In  his  Advertisement  au 
lecteur,  Vinciolo  says  that  having  promised,  since  the  first  impression  of 
his  book,  to  give  a  "nouvelle  bande  d'ouvrages,"  and  not  to  disappoint  cer- 
tain ladies  who  have  complained  that  he  has  not  made  "du  reseau  assez 
beau  a  leur  fantaisie,"  I  have  wished  for  the  third  time  to  place  before 
their  eyes  many  new  and  different  patterns  of  "reseau  de  point  conte  que 
j'ay  cousus  et  attachez  a  la  fin  de  mes  premieres  figures,"  beneath  which 
I  have  put  the  number  and  quantity  of  the  stitches.  Same  dedication  and 
sonnet  as  before.    Privilege  for  nine  years  dated  Paris,  25  May,  1587.  "De 


392 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


l'Imprimerie  de  David  le  Clerc,  rue  S.  Jacques,  au  petit  Bee,  devant  le 
College  de  Marmouttier. ? '  1st  Part,  40  if.,  36  plates,  27  of  point  couppe, 
two  stomachers,  and  seven  "Passemens"  de  point  couppe;  the  same  let- 
tered "Ouvrages"  as  in  the  preceding  impression.  2nd  Part,  36  ff.,  50 
plates.  The  thirty  already  published  in  the  second  edition,  after  which 
follow  the  twenty  additional  of  "reseau  de  point  conte"  announced  in  the 
Preface,  consisting  of  "6  Quarres,  2  Coins  de  Mouchoir,  2  Bordures,  6 
animals  :  Lion,  Pelican,  Unicorn,  Stag,  Peacock,  and  Griffon'';  and  the 
Four  Seasons.  "Deesse  des  fleurs,  representant  le  Printemps,''  etc.  These 
last  twenty  have  the  number  of  stitches  given.  On  the  last  page  is  an  es- 
cutcheon with  the  arms  of  France  and  Poland.  Bib.  Ste.  Genevieve  (with 
1  part).    Bib.  Nat.  Grav.  (with  1  part). 

1881 —  Vinciolo,  F. — 3rd  Edition,  No.  3,  Parts  1  and  2. — A  later  impression  still. 
Same  title,  date,  portraits,  dedication,  and  sonnet,  only  the  Privilege  is 
dated  "ce  douzieme  jour  de  Novembre  1587.  De  l'Imprimerie  de  David 
le  Clerc,  Bue  S.  Jaques,  aux  trois  Mores.' '  34  fT.,  30  plates,  1st  part;  50 
plates  in  2nd.    See  1879.    Bib.  de  1' Arsenal. 

1882—  Vinciolo,  F.— 4th  Edition,  Parts  1  and  2.— Les  Singuliers  /  /  Et  Nov- 
veaux  Pourtraicts,  Du  Seigneur  Federic  /  /  de  Vinciolo  Venitien,  pour 
toutes  /  /  fortes  d-ouurages  de  Lingerie  /  /  DEDIE  A  LA  BOYNE  /  / 
DEBECHEF  ET  POUB  LA  /  /  Quatrieme  Fois  Augmentez  /  /  outre 
le  refeau  premier  le  point  couppe  lacis  /  /  de  piufieurs  beaux  differ  ens 
portrais  /  /  de  refeau  de  point  conte,  avec  le  nombre  des  mailles,  chose 
non  encor  /  /  vene  ni  inuentee  /  /  A  THUBIN  /  /  Paris.  Par  Elea- 
zaro  Thomyfi  /  /  1589.  Metro.  Mus.  In-4°  en  deux  parties.  Meme  en- 
cadrement  du  titre  que  dans  Pedition  de  1587.  Aij,  le  portrait  de  Henri 
III  et  son  entourage,  le  meme  que  celui  decrit  dans  Pedition  de  1588.  Au 
verso,  avertissement  au  lecteur.  Aiij,  le  portrait  de  la  Beine  et  son  en- 
tourage, le  meme  que  celui  decrit  dans  Pedition  de  1588.  Au  verso,  dedi- 
cace  a  la  Beine  finissant  par  les  mots :  Ce  12  juillet  1589.  Vostre  tres 
humble  et  tres  obeyssant  seruiteur  et  subiect  Eleazaro  Thomisi.  Aiiij, 
sonnet  aux  dames  et  damoiselles.  La  premiere  partie  de  44  f  euillets,  con- 
tient  33  planches  non  compris  le  frontispice  et  les  portraits  de  Henri  III 
et  de  sa  f emme.  La  seconde  de  42  feuillets  et  de  36  planches.  E.  Bocher. 
Described  in  Cat.  Cicognara  with  the  date  1658.  The  1st  part  44  ff.  and 
39  plates ;  the  2nd  with  36  plates.  The  copies  of  Vinciolo  in  the  Bodleian 
bear  the  dates  of  1588,  1603,  and  1612.  Baron  Pichon  has  a  copy  of  an  im- 
pression of  1612.  One  at  Bordeaux,  in  the  Bib.  de  la  Ville,  is  dated  1588. 
In  a  book  sale  at  Antwerp,  March,  1864,  there  was  sold  the  following : — Lot 
528.  Livre  de  Patrons  de  Lingerie  dedie  a  la  Boyne,  nouvellement  in- 
vente  par  le  seign'  Frederic  de  Vinciolo,  Venitien.  Paris,  Jean  le  Clerc, 
1598. — Les  singuliers  et  nouveaux  pourtraicts  pour  toutes  sortes  d'ou- 
vrages  de  Lingerie.  Paris,  Ibid.,  1598. — Les  secondes  oeuvres  et  suhtiles 
inventions  de  Lingerie.  Paris,  Ibid.,  1598.  —  Nouveaux  pourtraicts  de 
Point  coupe  et  Dantelles  en  petite  moyenne  et  grande  forme.  A.  Mont- 
beliard,  J acques  Foillet,  1598.  4  torn.  1  vol.  in-4.  v.  anc.  fig.  sur  bois.  It 
went  for  440  francs  to  a  Mr.  Boss.    We  do  not  know  the  editions  of  1598. 


BIBLIOGRAPHY 


393 


As  M.  Leber  observes,  the  various  editions  of  Vinciolo,  published  by  Le 
Clerc  and  his  widow,  from  1587  to  1623,  and  perhaps  later,  are  only  im- 
pressions more  or  less  varied  of  the  two  distinct  books,  the  one  of  point 
coupe,  the  other  of  lacis.  The  work  of  Vinciolo  has  been  reprinted  in  sev- 
eral countries.  In  England  it  has  been  translated  and  published  by  Wolfe. 
At  Liege,  by  Jean  de  Grlen.  Mr.  Douce  says  that  it  was  reprinted  ' 1  at 
Strasburg,  1596,  and  at  Basle,  1599,  with  a  second  part,  which  is  rare,  and 
sometimes  contains  a  portrait  by  G-aultier  of  Catherine  de  Bourbon."  In 
the  Bib.  Nat.  a  volume  headed  Vinciolo  (Federigo)  Peintre  Venetian  et 
ses  imitateurs  contains,  with  "La  pratique,"  etc.,  of  Mignerak  a  German 
copy  of  the  "nouveaux  pourtraits,"  the  work  printed  by  Ludwig  Kiinigs, 
at  Basle,  1599  and  a  German  work  headed  "Broderies  sur  filet,"  50  plates 
engraved  upon  copper.  Bury-Palliser.  Catalogue  Cicognara,  Brussels, 
Bib.  Eoy. 

1884 —  Vinciolo,  Fde. — Les  singuliers  et  noweavx  povtraicts  .  .  .  pour  toutes 
sortes  d'ouurages  de  Lingerie  .  .  .  Derechef  et  povr  la  qvatrieme  fois 
avgmentez,  etc.    Sm.  4to.    Lyons  (L.  Odet),  1592.    S.  K.  M. 

1885 —  Vinciolo,  F. — 3rd  Edition,  No.  4,  Parts  1  and  2. — Les  singuliers  et  nou- 
veaux  pourtraicts,  du  Seigneur  Frederic  de  Vinciolo,  Venitien,  pour  toutes 
sortes  d'ouvrages  de  Lingerie.  Dedie  a  la  Eoyne  Douairiere  de  France. 
De  Eechef  et  pour  la  troisiesme  fois  augmentez,  outre  le  reseau  premier  & 
le  point  couppe  &  lacis,  de  plusieurs  beaux  &  diff erens  portrais  de  reseau 
de  point  cote,  avec  le  nombre  des  mailles,  chose  non  encore  veue  ny  inven- 
ted. A  Paris.  Par  lean  le  Clerc,  rue  Saint  Jean  de  Latran,  a  la  Sale- 
mandre.  Avec  privilege  du  Roy.  1595.  This  impression  is  dedicated  to 
Louise  de  Vaudemont,  now  ' '  Reine  Douairiere, ' '  Henry  III.  having  died  in 
1589.    British  Museum — Grenville  Lib. 

1886 —  Vinciolo,  F. — Les  singvliers  et  novveaux  porrtraicts  du  seigneur  federic 
de  Vinciolo,  Venitien  pour  toutes  sortes  d'ouurages  de  Lingerie.  Imprime 
a  Basle  par  Lory  Roy,  1599.  In-8°  oblong.  Ce  titre  est  dans  un  encadre- 
ment  rectangulaire,  forme  par  de  petits  carres  et  des  bandes  de  guipure. 
Puis  les  broderies,  copiees  des  ouvrages  frangais  du  Vinciolo.  Elles  sont 
tirees  en  largeur  au  lieu  d'etre  en  hauteur.  En  somme,  52  feuillets  dont 
un  titre  et  52  planches  de  broderies.  Vente  Yemenitz.  Catalogue  du  Bor- 
luut.    B.  M. 

1887 —  Vinciolo,  Federic. — Les  Singuliers  Et  Nouueaux  Pourtraicts  Dw  Seignevr 
Federic  de  Vinciolo  Venitien,  pour  toutes  sortes  d'ouurages  de  Lingerie. 
Dedie  A  La  Royne  Douariere  De  France  Derechef  Et  Pour  La  Troisiesme 
Fois  Augmentez  outre  le  reseau  premier  &  le  point  couppe  &  lacis,  de  plu- 
sieurs beaux  &  differens  portrais  de  reseau  de  point  cote,  auee  le  nombre 
des  mailles,  chose  non  6^0^  veue  ny  inuentee.  A  Paris  Par  lean  le  Clerc, 
rue  Saint  lean  de  Latran,  a  la  Salemandre.  Avec  priuelege  du  Roy.  1601. 
[Extraict  du  Priuilege.  De  VImprimerie  de  Dauid  le  Clerc,  Rue  Fre- 
mentel  au  petit  CorbeiL]  4°.  Title,  Coat  of  Arms,  3  pp.  text,  64  cuts. 
B.  K.  M. 


394 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1888 —  Vinciolo,  F. — Les  singuliers  et  nouveaux  pourtraicts  du  seigneur  Federic 
de  Vinciolo,  Venitien  ponr  toutes  sortes  d'ouvrages  de  lingerie,  dediee  a 
la  Eeine  douairiere  de  France,  de  rechef  et  pour  la  troisieme  fois  augmen- 
tez  Outre  le  reseau  premier  et  le  point  coupe  et  lacis,  de  plusieurs  beaux  et 
differents  portraits  de  reseaux,  de  point  compte  avec  le  nombre  de  mail- 
les, chose  non  encore  veue,  ni  inventee.  A  Paris  pour  Jean  le  Clerc,  rue 
St.  Jean  de  Latran,  a  la  Salamandre  Eoyalle,  avec  Priuilege  du  Eoi,  1603. 
In-4°  en  deux  parties.  Meme  encadrement  pour  le  titre  que  dans  Pedition 
de  1587.  Au  verse  le  portrait  de  Henry  III.  Aij,  Pavertissement  au  lec- 
teur,  au  verso  le  portrait  de  la  Eeine.  Aiij,  dedicace  a  la  Eeine.  La  Pre- 
miere partie  comprend  40  feuillets.  La  Deuxieme  partie  comprend  32 
feuillets. 

1889 —  Vinciolo,  F. — Les  singvliers  et  novveaux  Pourtraicts  du  Seigneur  Federic 
Vinciolo  Venitien  pour  toutes  sortes  de  Lingerie,  Dedie  a  la  Eoyne, 
De  rechef  et  pour  la  cinquieme  fois  augmentez  oultre  le  reseau  premier  et 
le  point  couppe  &  lacis  de  plusieurs  et  beaux  et  differents  pourtraits  de 
reseau  de  point  compte  avec  le  nombre  des  mailles,  choses  non  encore  veue 
ni  inuentee.  A  Lyon  par  Leonard  Odet,  MDCIII  (1603).  2  parties  en  1 
volume  in-4°.  Part  1. — Title,  Portrait,  5  pp.,  and  42  leaves  of  cuts.  Part 
II. — Title,  1.  p.  text,  68  cuts.  E.  F.  Strange.  Meme  encadrement 
du  titre  que  dans  Pedition  de  1587.  Cette  feuille  est  cotee  A.  Eien 
au  verso.  A2,  portrait  de  Henri  IV,  remplagant  celui  de  Henri  III.  II 
est  de  trois  quart  a  gaucbe,  col  blanc,  cuirasse  avec  eobarpe  blancbe,  dans 
un  medaillon  ovale.  Sur  la  bordure  du  medaillon:  Henri  IIII,  par  la 
grace  de  Dieu,  Eoy  de  France  et  de  Navarre.  Ce  medaillon  est  au  milieu 
d'une  couronne,  formee  de  deux  branches  de  laurier  liees  en  bas  en  sautoir. 
Verso,  une  planche  de  broderie  prise  dans  un  autre  ouvrage  que  les  Vin- 
ciolo anterieurs  et  d'un  tout  autre  caractere.  Ce  sont  trois  bandes  hori- 
zontales  de  point  compte.  Dans  celle  du  milieu,  on  voit  un  aigle  et  deux 
chiens. — L,  L2,  L3,  au  verso  une  broderie  guipure  qui  semble  prise  dans 
un  autre  ouvrage  que  dans  les  Vinciolo  anterieurs.  L4,  alphabet,  rien  au 
verso.    Belin,  1911.    B.  KM. 

1889a-Vinciolo,  F. — Les  sinvliers  et  novveaux  Pourtraicts  du  seigneur  Fed- 
eric Vinciolo  Venitien  pour  toutes  sortes  d'ouurages  de  Lingerie,  dedie  a 
la  Eoyne,  de  rechef  et  pour  la  cinquieme  fois  augmentez  outre  le  reseau 
premier  et  le  point  couppe  et  lacis  de  plusieurs  beaux  et  differents  pour- 
traits  de  reseau  de  point  compte  avec  le  nombre  de  mailles,  choses  non  en- 
core veue  ni  inuentee.  A  Lyon,  par  Leonard  Odet,  MDCII  (1603).  M2, 
sonnet  aux  dames  et  damoiselles.  F4.  Au  verso  de  cette  page,  une  tablette 
noire  sur  laquelle  se  detachent  en  blanc  les  lettres  d'un  alphabet  majus- 
cule. Elle  est  entouree  de  deux  branches  de  laurier  en  sautoir.  Depuis 
la  cote  M3,  toutes  les  pages  ont  des  broderies  au  recto  et  au  verso.  Celles 
des  versos  sont  prises  dans  difrerents  recueils,  et  entre  autres  dans  La 
vera  perfettione  del  disegno  de  J.  Ostaus.  En  tout  80  feuillets  et  115  plan- 
ches de  broderies.  Vente  Yemeni tz,  Vente  des  Barreaux-Bernard,  1879. 
Vente  Seillieres,  1890.  Vente  Coste,  Vente  Destailleurs,  1895.  [Another 
edition,  with  the  plates  in  different  order.]  See  1889.  Vente  Benedetto 
Maglione,  1894.    B.  K.  M. 


BIBLIOGRAPHY 


395 


1890 —  Vinciolo,  F. — Les  singvliers  et  nouveaux  povrtraicts  du  seignevr  Federic 
de  Vinciolo  Venitien  pour  toutes  sortes  d'ouurages  de  Lingerie.  Dedie 
a  la  Boyne  douairiere  de  France  de  rechef  et  pour  la  troisieme  fois  avg- 
mentez  outre  le  reseau  premier  et  le  point  couppe  et  lacis,  de  plusieurs 
beaux  et  differents  portraits  de  reseau,  de  point  conte  auec  le  nombre  de 
mailles,  chose  non  encore  veue,  ny  inuente.  A  Paris  pour  lean  Le  Clerc, 
rue  S.  Jean  de  Latran  a  la  Salemendre  Boyalle.  Auec  privilege  du 
Boy,  1606.  Ce  titre  est  sur  une  page  cotee  A.  Au  verso  de  cette  page  le 
portrait  de  Henri  III.  Ici  la  couronne  forme  de  deux  branches  de  lau- 
riers  qu'on  voit  dans  les  editions  de  1588  et  1589  est  remplacee  par  une 
couronne  f  ormee  de  fruits  et  de  fleurs  entrelacees.  Les  4  vers  qui  sont  en 
bas,  sont  d'une  ecriture  plus  grosse  que  dans  1 'edition  de  1588  et  ne  sont 
pas  comme  dans  cette  edition  entoures  de  frises  gravees  sur  bois.  Page 
suivante  cotee  Aij,  meme  avertissement  au  lecteur.  Seulement,  en  haut  la 
frise  sur  bois  de  1 'edition  de  1588  est  remplacee  ici  par  un  petit  ecusson 
aux  armes  de  France,  surmonte  d'une  couronne  Boyale,  et  deux  anges 
ailes,  s'appuyant  de  chaque  cote  sur  cet  ecusson.  A  droite  et  a  gauche  le 
motif  se  termine  par  une  corne  d'abondance.  Verso,  le  portrait  de  la 
Beine.  Aiij,  dedicace  a  la  Beine,  verso.  Aiiij,  sonnet  aux  dames  et  damoi- 
selles,  verso.  Puis  commencent  les  broderies  imprimees  seulement  au 
recto  des  pages.    36  planches  dans  cette  premiere  partie.    Bib.  Nationale. 

1891 —  Vinciolo,  3rd  Edition,  No.  5,  Parts  1  and  2 — The  same  title  as  that  of  1595 
— differing  only  in  date.  Privilege  for  six  years,  "donne  a  Mantes,  le  3 
Juillet  1593."  At  the  foot,  "De  l'lmprimerie  de  David  le  Clerc  au  Petit 
Corbeil  1606."  The  1st  part  has  32  ff.  and  36  plates;  32  "Ouvrages  de 
poinct  couppe,"  and  4  stomachers.  The  2nd  part  46  plates,  same  as  those 
of  1588,  only  four  less.  On  the  last  page  the  escutcheon  of  France  and 
Navarre. 

1892 —  Vinciolo,  F. — Les  singuliers  et  nouveaux  Pourtraicts  du  seigneur  Federic 
de  Vinciolo,  Venitien  pour  toutes  sortes  d'ouurages  de  lingerie  .  .  .  de 
rechef  et  pour  la  troisieme  fois  augmentez  outre  le  reseau  premier  et  le 
point  couppe  et  lacis,  de  plusieurs  beaux  et  difrerens  pourtraits  de  reseau, 
de  point  compte  .  .  .  Paris,  Pour  lean  Le  Clerc,  1612.  2  parties  en  1 
volume  in-4°.    Vente  de  M.  le  baron  Pichon,  Paris,  Potier,  1869.    Cat.  of 

.      Weyhe,  N.  Y.    No.  20,  1918. 

1893 —  Vinciolo  Seig.  Frederic, — Les  singuliers  et  nouveaux  pourtraicts  pour 
toutes  sortes  d'ouvrages  de  lingerie.  A  Thurin  par  Eleazaro'  Thorny  si. 
1658.  Seconde  edition  avec  la  date  de  Thurin.  Elle  est  la  reproduction 
exacte  de  celle  de  1589,  aussi  de  Thurin.  Quant  aux  planches  elles  sont  les 
memes  sauf  quelques  differences  insignifiantes.  In- 8°  oblong,  divise  en 
deux  parties.  La  premiere  est  de  44  feuillets  oontenant  39  planches  non 
compris  le  Frontispice,  et  les  portraits  de  Henri  III  et  de  sa  femme.  La 
seconde  de  42  feuillets  et  de  36  planches.  Nous  croyons  avec  M.  Alvin  dit 
le  marquis  d' Adda  que  ces  dates  et  le  nom  de  l'imprimeur  sont  faux,  et 
nous  ajouterons  qu'il  est  peu  probable  qu'un  editeur  puisse  de  son  vivant 
reediter  un  ouvrage  a  69  ans  de  distance.    Catalogue  Cicognara, 


396 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


1894 —  Vinciolo,  Federico — I  singolari  e  nuovi  disegni  per  lavori  di  biancheria. 
Under  direction  of  Elisa  Eicci.    Bergamo,  1909. 

1895 —  Viti  de  Marco,  Marchesa  Etta  de — Pescocostanzo  and  its  Lace-Makers. 
The  Monthly  Review,  March  1904,  London. 

1896 —  Voshage,  Adele — Das  Spitzenkloppeln,  2d  edition.  Leipzig,  Eng.  Twiet- 
meyer  (1894). 

1897 —  V.  T.,  Alcide — Dentelle  du  Havre  (Eesponse).  Intermediare  des  Cher- 
cheurs  et  Curieux,  1896,  Paris. 

1898 —  Vosteraian,  Guillaume — Ce  est  nng  tractat  de  la  noble  art  de  Peguille  as- 
cauoir  ouuraiges  despaine  et  toz  traictz  moult  profitable  po  lingeries  et 
ouuriers  de  culetes,  a  ussy  pour  tyseurs  de  damas,  Teincturiers  et  Bro- 
deurs  contenat  cent  et  trente  huyct  Figures  perfectement  mises.  Ainsi  q 
non  point  les  subtilz  engins.  Mais  les  jeunes  filles  et  enfans  en  peuuent 
en  brief  acquerre  grand 'science  et  estre  parfaictz  en  brief  temps.  Imprime 
a  Anvers  par  moy  Gruillaume  Vosterman.  Sans  date.  Un  rectangle  cir- 
conscrit  lui-meme  par  une  composition  ou  Pon  voit  en  haut  un  chapiteau, 
posant  sur  deux  montants  en  forme  de  colonnes  surmontes  chacun  d'une 
petite  figure  de  femme  brodant  a  Paiguille.  Au  milieu  du  chapiteau  un 
homme  travaillant  a  un  petit  metier  qu'il  tient  des  deux  mains  appuye  sur 
son  genou.  En  bas  de  la  composition  et  au-dessous  du  rectangle  dans  le- 
quel  est  inscrit  le  titre,  deux  femmes  travaillant,  Pune  a  droite  aun  metier 
de  basse  lisse,  Pautre  a  gauche  a  un  petit  metier  pose  sur  une  table  de- 
vant  elle.  Elle  est  assise  sur  une  chaise  de  trois  quart  a  droite.  Dans 
les  ronds  qui  sont  au  milieu  des  colonnes,  on  voit  a  gauche  un  ecusson  avec 
les  couronnes  des  trois  Eois,  a  droite  un  autre  ecusson  ou  figure  un  oiseau. 
Au  verso  de  cette  page  une  gravure  sur  bois.  Dans  un  interieur,  un  hom- 
me son  bonnet  sur  la  tete,  son  epee  au  cote,  est  assis  sur  un  banc  de  bois 
a  large  dossier.  De  face  la  tete  legerement  penchee  de  trois  quart  a 
gauche,  il  a  une  main  posee  sur  Pepaule  et  la  poitrine  d'une  jeune  femme 
assise  a  gauche  a  ses  pieds.  Celle-ci  tient  d'une  main,  une  paire  de  ci- 
seaux,  de  Pautre  une  broderie,  qu'elle  appuie  sur  ses  genoux  croises.  A 
gauche  une  vaste  corbeille,  et  au  fond  une  baie  ouverte  divisee  en  deux 
par  une  colonne.  Au-dessous  de  cet  alphabet  on  lit:  She  prent  tot  Ant- 
werpen  in  die  Camerstrate  in  den  gulden  cen  horanbp.  imp.  Willem  Vos- 
terman. Ce  livre  est  une  copie  du  Pierre  Quentel  de  1527.  Voir  ci-des- 
sous.  C  'est  egalement  le  meme  livre  sous  un  titre  different  que  celui  decrit 
ci-dessus.    Alphabet  quadrille.  Alphabet  sur  fond  blanc.    Bib.  Nat. 

1899 —  Vostermans,  Villm — A  new  Traatys  as  cocernynge  the  excellency  of  the 
nedle  Worcke,  spanisshe  stitche  and  we  avynge  in  the  frame  very  neces- 
sary to  all  Theym,  wiche  desyre  The  perfect  Knowledge  of  seamstry,  quil- 
tinge  and  brodry  worke  coteinynge  an.  CXXX.  VIIJ  figures  or  tables  so 
playnli  made  et  lettout  in  portrature.  The  whiche  is  dimcyll  natolp  for 
craftz  mebut  also  gentleweme  ioge  damosels  That  therin  may  obtayne 
greate  conynge  delyte  and  pleasure,  These  boekes  be  to  sell  at  Andwarp 
in  the  golden  Unycorne  at  Villm  Vorstermans.  Ce  titre  est  cote  a.  II  est 
inscrit  dans  une  composition  absolument  pareille  a  celle  qui  entoure  le  titre 
du  volume  intitule.    "Ce  est  un  tractat  de  la  noble  art  de  l'equille."  Le 


BIBLIOGRAPHY 


397 


verso  ept  egalement  la  reproduction  du  verso  de  ce  susdit  livre.  Che  prent 
tot  Antwerpen  in  die  Camerstrate  in  den  gulden  cen  horanbp.  imp.  Willem 
Yosterman.  8vo,  24  fT.,  46  plates.  Title  in  Gothic  letters,  with  figures. 
P.  1,  dorso :  Woodcut  of  a  woman  at  work  and  a  man  sitting  by  her  side. 
Patterns  mediaeval,  small  black  squares,  arabesques,  etc.  Vorsterman 
worked  from  1514  to  1542.  Silvestre,  Marques  Typographiques  des  im- 
primeurs  en  France,  depuis,  1470.    Bibliotheque  de  V Arsenal. 

 W—  — 

1900—  Waite,  M.— Knitting  Cards  for  Standards  III  and  IV,  Leeds  1891.    B.  M. 

1901—  Walford,  L.  B.— Lace  Camisole.    Century.    V.  61,  pp.  178-186,  Dec,  1900. 

1902 —  Walter,  M.  L. — Lessons  in  Buttonhole  Making  and  Fancy  Stitching.  Ladies 
Home  Journal.    V.  20,  p.  51,  February,  1903. 

1903 —  Waree,  A. — Les  Dentelles  vraies.  Exposition  internationale  de  Chicago, 
1893. 

1904 —  Waring,  J.  B. — Masterpieces  of  Industrial  Art  at  the  International  Ex- 
hibition, 1862  (Belgian  lace,  vol.  II.,  plate  109.)  3  vols.  fol.  Lond.,  1863. 
S.K.M. 

1905—  Warleigh,  H.  F.  E.  A.— Full  Directions  for  Knitting  Edgings.  72  pages. 
London,  1894.    B.  M. 

1906 —  Washable  Crocheted  Pendants.  Harpers  Bazaar.  V.  44,  p.  729,  Decem- 
ber, 1910. 

 Wasmuth  Eeproductions.    See  Nos.  269,  602,  811. 

1907— Watreman— Fardle  Facions,  1555 

1908 —  Webb,  E.,  of  Nottingham — A  Note  on  Nottingham  Lace.  The  Artist, 
April,  1901,  London. 

1909— Weigel — Wol-andstandige  und  Nutzen-bringende  Frauen.  zimmer  Ergoet- 
ziing.  Par.  a.  Bur.  Nurnberg.  Weigel.  s.d.  In-folio  oblong.  50  planches  de 
broderies  en  taille  douce,  dont  la  majeure  partie  sont  grandes  et  repliees. 
Vente  Yemenitz,  1867. 

1910 —  Weigel,  J.  Chr. — Zierlich  webende  Minerva,  oder  neu  erfundenes  Kunst- 
und  Bild-Buch  der  Weber-  und  Zeichner- Arbeit,  worinnen  treue  Anwei- 
sung  geschieht,  wie  man  kunslich  wirken  und  schone  Arbeit  verfertigen 
soil,  von  der  viers chaff tigen  en,  bis  auf  zwey  und  dreissig-schafftige. 
Nurnberg  (Johann  Christoph  Weigel).  No  date.  40  plates  in  sheets. 
S.  K.  M. 

1911 —  Weigel,  Johann  Christoph — Zierlich  webende  Minerva  oder  neu-erfun- 
denes  Kunst  und  Bild  Buch,  der  Weber  und  ziechner  arbeit  Worinnen 
treue  anweisung  geschieht  wie  man  Kunstlich  wircken  und  schone  arbeit 
verfertigen  soil  von  der  vier  schafftigen  an  bis  auf  zwey  und  dreissig: 
schafflige,  ingleichen,  doppel.  Colnische  fuss  zeppiche,  gesteint  oder  ges- 
chacht  auch  gebrochene  und  hin  und  wieder  arbeit  von  allerhand  schonen 
zugen  und  bildern  nach  lauterauserlesenen  und  wol  probirten  stricken  zu 
machen,  Welchem  noch  bey  gefiiger.  Ein  aus  fiihrlich  und  deutlicher 
Bericht  von  Klein  und  gross  gezogener  arbeit  so  wol  niederlandisch  als 
auf  schlecht  nicht  weniger  allerhand  schone  mit  galanten  blum,  werck  oder 
andern  Figuren  prangende  Teppiche  nach  den  patronen  oder  Formen  auf 


398 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


Teppiche  und  damast  zu  verfertigen  der  gleichen  noch  nie  anslicM  gekom- 
men  heraus  gegeben  von  Einem,  Liebhaber  dieser  WissenscharTt  der  sei- 
nem  Bechsten  zu  diener  beflissen.  Niirberg  Verlegts  Johann  Christoph 
Weigel  Kunst  handler.  5  pages  indiquant  la  maniere  de  faire  les  points. 
Cet  exemplaire  par  ait  incomplet. 

1912—  Weitz— Spitzen  Motive.    Plauen,  C.  Stoll. 

1913 —  Weldon's  Practical  Carrickmacross  Lace — Book  200,  Vol.  17,  39  designs. 
(Collection  of  Kursheedt  Manufacturing  Co.,  N.  Y.) 

1914 —  Werder,  L.  Otto — Types  modernes  pour  Dentelles — Broderies,  Serie  1-2. 
Plauen,  C.  Stoll,  1898. 

1915— Werder— Dentelles  nouvelles,  2  serien  a  20  Taf  eln.  Plauen,  C.  Stoll.  1898. 

1916 —  Werder,  at  Saint  Gall — Dentelle.    L'Art  decor  atif,  December,  1899,  Paris. 

1917 —  Werner,  M. — Teil  eines  Faechers.  Irische  Spitze.  Kunstgewerbeblatt, 
August,  1890,  Leipzig. 

1918 —  Wertman,  A.  0.  L. — Belief  Crochet.  Woman's  Home  Companion.  V.  31, 
p.  41,  February,  1904. 

1919 —  Westlake,  N.  H.  J. — Souvenir  of  the  exhibition  of  Christian  art  at  Mech- 
lin, Sept.,  1864.  (Plates  5  and  6.  Needlework.)  4to.  London  and  Ox- 
ford, 1866.    S.  K.  M. 

1920 —  Whishaw,  Bernard — Illustrated  Descriptive  Account  of  the  Museum  of 
Andalucian  Pottery  and  Lace,  antique  and  modern.  London,  Smith,  El- 
der &  Co.,  1913. 

1921 —  Whishaw,  Bernard  &  Ellen — Puntas  and  Passementerie.  Connoisseur. 
V.  24,  pp.  82-88. 

1922 —  Whishaw,  B.  and  Ellen  M. — Punto  de  Aguja  and  Point  d'Espagne.  Con- 
noisseur.   V.  26,  pp.  51-55,  January,  1910  and  following. 

1923 —  Whitby,  J.  E. — A  Beautiful  Specimen  of  Lace.  (Grande  piece  a  person- 
nages  de  la  collection  Montefiore  au  Musee  du  Cinquantenaire  a  Bruxel- 
les).    The  Ladies  Field,  June,  1904,  London. 

1924 —  Wiener  Spitzenausstellung,  1906,  Die — Herausgegeben  von  k.k.  Osterr. 
Museum  fur  Kunst  und  Industrie  in  Wien.  60  plates,  folio.  Leipzig, 
1906.  Einleitung  von  M.  Dreger  "Uberlick  iiber  die  Entwicklungsges- 
chichte  der  Spitze." 

1925 —  Wilkinson,  M.  E. — Art  Needlework  and  Design.  Point  Lace.  London, 
Scott,  Greenwood  &  Son,  1907. 

1926— Wilkinson,  M.— Table  Laces.  Harper's  Bazaar.  V.  37,  pp.  1209-1211, 
December,  1903. 

1927 —  Wilson,  L.  B. — Buttonhole  Stitch  as  Applied  to  Venetian  Ladder  Work. 
Ladies  Home  Journal.    V.  24,  p.  43,  February,  1907. 

1928 —  Wilson,  L.  B. — Five  Good  Doily  Designs.  Ladies  Home  Journal.  V.  20, 
p.  31,  August,  1903. 

1929 —  Wilson,  L.  B. — Good  Eyelet  Embroidery.  Ladies  Home  Journal.  V.  26, 
p.  37,  April,  1909. 

1930— Wilson,  L.  B.— Italian  Cut-work.  Harper's  Bazaar.  V.  38,  pp.  90-92, 
January,  1904. 

1931 —  Wilson,  L.  B. — New  Australian  Crochet.  Ladies  Home  Journal.  V.  28, 
p.  53,  October,  1911. 


BIBLIOGRAPHY 


399 


1932 —  Wilson,  L.  B. — New  Designs  in  Filet  Crochet.  Ladies  Home  Journal.  V. 
28,  p.  24,  August,  1911. 

1933 —  Wilson,  L.  B. — New  Irish  Princess  Lace.  Ladies  Home  Journal.  V.  26, 
p.  51,  January,  1909. 

1934 —  Wilson,  L.  B. — Roman  Cut-work.  Ladies  Home  Journal.  V.  24,  p.  55, 
January,  1907. 

1935 —  Wilson,  L.  B. — Venetian  Crochet.  Ladies  Home  Journal.  V.  29,  p.  41, 
February,  1912. 

1936 —  Wilton,  Countess  of — The  Art  of  Needlework  from  the  earliest  ages. 
8vo.    London.    1844.    S.  K.  M. 

1937 —  Winser,  Margaret — Elementary  Course  in  Lace-making.  1913. 

1938—  Wintin,  J,— Lace  Trade  Calculator.    London,  1897,  etc.   8vo.   B.  M. 

1939 —  Wolf,  J. — Translation  of  Vinciolo  by  J.  Wolf.  New  and  singular  pat- 
ternes  and  workes  of  Linnen.  Serving  for  patternes  to  make  all  sortes  of 
Lace  edging  and  Cut-workes.  Newly  invented  for  the  profite  and  content- 
ment of  Ladies,  Gentlewomen,  and  others  that  are  desirous  of  this  Arte. 
London :  Imprinted  by  J.  Wolfe  and  Edward  White,  1591.  Owned  in  1919 
by  Mr.  W.  A.  WThite,  N.  Y. 

1940 —  Wonderful  Laces,  Mrs.  Leland  Stanford's.  Ladies  Home  Journal.  V. 
22,  pp.  24-25,  July,  1905. 

1941 —  Woodward,  M.  E. — A  Text  Book  on  Cluny  and  Torchon  Laces.  For  sale 
by  Sara  Hadley. 

1942 —  Woodward,  P. — Handbook  to  the  law  of  copyright  in  registered  Designs, 
with  special  application  to  class  9,  lace.  92  pages.  Nottingham,  1891. 
B.  M. 

1943 —  Wright,  Agnes  F. — Lace  in  Interior  Decorations.  House  and  Garden. 
V.  32,  pp.  50-51,  68,  November,  1917. 

1944 —  Wyatt,  Sir  M.  D. — Industrial  Arts  of  the  Nineteenth  Century,  at  the 
Great  Exhibition,  1851.  (Lace  and  Embroidery.)  2  vols.  fol.  London, 
1851-53.    S.  K.  M. 

1945 —  Yoni-Beaugourdon — Carton  pour  dentelle.  L'Art  decor  atif,  March,  1902, 
Paris. 

1946 —  Yorke,  Harry  W.,  at  Nottingham — Projets  de  rideaux  de  dentelles.  Art 
applique,  1  re  annee,  Paris. 

1947 —  Youghal  Lace.    International  Studio.    V.  20,  pp.  212-215,  September,  1903. 

1948 —  Youmans,  E.  A. — Making  of  Lace.  Popular  Science  Monthly.  V.  8,  rp. 
521. 

1949 —  Ziegler  d'Ulm,  Marx — Weber  Kunst  und  bild  Buch.  (Livre  de  point  coupe 
et  dessins  de  broderie  par  Marx  Ziegler  d'Ulm).  Augsbourg.  Koppmeyer, 
1677.    In-4°  oblong.    Planches  gravees  sur  bois.    Vente  Yemenitz,  1867. 

1949a-Zoppino,  Niccolo — Convivo  de  le  belle  donne.  With  22  leaves  of  designs. 
Venice,  1531. 


400 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


1950 —  Zoppino,  Nicolo — Convivio  delle  belle  donne,  dove  con  li  nuovi  raccami  . . . 
Finisce  il  convivio  delle  . . .  Nuovamente  stampato  in  Vinegia,  per  Nicolo 
d 'Aristotle,  detto  Zopino  del  mesede  d'Agosto  MDXXXII.  In-4°.  Snr  le 
titre,  marque  d'imprimerie  du  Zoppino.  (Saint-Nichojas.)  Epitre  de  Zop- 
pino. Alle  gentille  donne  .  .  .  Fin  de  1 'epitre,  au  verso.  Ici  commencent  les 
broderies.  24  feuillets.  Exemplaire  chez  le  peintre,  Chevalier  Bertini  a 
Milan.   Oxford,  Bib.  Bodleian. 

1951 —  Zoppino,  Nicolo — Esemplario  di  lavori:  dove  le  tenere  fanciulle  &  altre 
donne  nobile  potranno  facilment  imparare  id  modo  &  ordine  di  lavorare, 
cnsire,  racamare,  &  finalmente  far  tutte  quelle  gentillezze  &  lodevoli  opere, 
le  quali  po  fare  una  donna  virtuosa  con  laco  in  mano,  con  li  suoi  compasse 
&  misure.  Vinezia,  per  Nicolo  D'Aristotile  detto  Zoppino  MDXXIX.  8vo. 
46  plates.  The  Cavre  Merli  quotes  another  edition,  date  1530,  in  the  pos- 
session of  the  Avvocate  Francesco  Pianesani,  and  another  he  believes  of 
1529.    Paris,  Bib.  de  1' Arsenal.  11,952. 

1952 —  Zoppino,  Nicolo — Esemplario  di  lavori;  doue  le  tenere  fanciulle  &  altre 
done  nobile  potranno  facilmete  imparare  il  modo  et  ordine  di  lauorare,  cu- 
sire,  raccamare,  et  finalmente  far  tutte  quelle  gentilezze  et  lodeuili  opere, 
le  quali  po  fare  una  donna  virtuosa  co  laco  in  mano,  con  li  suoi  compasse 
et  misure.  A  la  fin,  au  verso  du  dernier  f  euillet :  Finisce  il  libro  intitu- 
lato,  Esemplaro  de  lauori.  Stampato  in  Vinegia  per  Nicolo  d'Aristotile, 
detto  Zopino,  MDXXIX  (1529),  del  mese  di  Agosto.  Petit  in-4°.  Ce 
volume  est  compose  d'un  titre  imprime  en  rouge  et  noir  dans  un  frontis- 
pice  grave  sur  bois,  d'un  f euillet  contenant  une  epitre  de  Nicolo  Zoppino, 
all.  virtuosi  et  gentillissimi  lettori  .  .  .  et  de  26  feuillets  contenant  les 
modeles  de  broderie  imprimes  au  recto  et  au  verso.  Vente  Libri.  Biblio- 
theque  Boldeienne  d 'Oxford. 

1953 —  Zoppino,  N. — Essemplario  di  lauoi  doue  le  tenere  fanciulle  &  altre  donne 
nobile  potranno  f acilmente  imparare  il  modo  &  ordine  di  lauorare  e  cusire : 
raccammare:  finalmente  far  tutte  quelle  gentilezze  et  lodeuili  opere:  le- 
quali  po  fare  una  donna  uirtuosa  con  laco  in  mano :  con  li  suoi  compassi  & 
misure.  [At  the  end]  Finnisse  el  libro  intitulato  Exemplario  di  lauori. 
Stampato  in  Vinegia  per  Nicolo  d'  Aristotile  detto  Zoppino.  MDXXX.  4°. 
Cut.    51  leaves. 

1954 —  Zoppino,  Nicolo — Esemplario  di  lauori  doue  le  teners  fanciulle.  1530. 
Ongania  Eeproduction,  1878. 

1955 —  Zoppino,  Nicolo — Gli  vniversali  di  tutti  e  bei  dissegni,  Eaccami  et  moderni 
lauori  quali  un  bello  inteletto  humano  un  pellegrino  ingegno  si  de  huomo 
come  di  Donne  (pro).  Con  l'aco  in  mano,  in  questa  nostra  etade  lo  deuol- 
mente,  Nuovamente  stampato  etmuti  in  luce,  MDXXXII  (1532).  Ce  titre 
est  dans  un  entourage  forme  de  petits  bois  rectangulaires.  En  haut  aux 
angles  une  tete  de  femme.  Celle  de  droite  de  profil  a  gauche,  celle  de 
gauche  de  profil  a  droite.  En  bas  deux  terms  formant  cariatides.  Page 
suivante  au  recto,  dedicace :  Alle  virtuosi  giovanni  et  gentillissime  fanci- 
ulle di  Eaccami  et  lauori  Moderni  studiosissime  Nicolas  Zoppino.  s.  d. 
64  ff.  avec  planches  de  broderies  et  dentelles  gravees  sur  bois.  Au  verso 
de  la  derniere  page,  un  petit  bois  representant  un  eveque  assis,  sa  crosse  a 


BIBLIOGRAPHY 


401 


la  main.  Une  f emme  a  gauche  a  genoux  lui  offre  une  corbeille  de  fruits. 
Au-dessons:  Pinisce  gli  universali  di  Tutti  e  bei  dissegni.  Raccami  et 
moderni  lauorni  stampati  per  Nicolo  d'Artistotile  detto  Zoppino.  Del  mese 
di  Agosto.   Vente  Piot,  1891. 

1956 —  Zoppino,  Nicolo. — Gli  vniversali  de  i  belli  Recami  antichi,  e  moderni,  ne 
iquali  un  pellegrino  ingegno  si  di  huomo  come  di  donna,  potra  in  quest 
nostra  eta  con  Pago  uertuosamente  esercitarsi.  Non  anchora  da  alcuni 
altri  dati  in  luce,  MDXXXVII  (1537).  A  la  fin:  Finisce  gli  vniversali  de  i 
belli  Recami  antichi  e  moderni  stampati  per  Nicolo  d'Aristotile  detto  Zop- 
pino del  Mese  di  Marzo,  MDXXXVII  (1537).  In-4°.  II  se  compose  de  20 
or  25  ff.  non  chiffxes  et  contient  37  grandes  figures  sur  bois  de  dentelles, 
travaux  a  Paiguille  et  autres  compositions  avec  figures  d'hommes,  de  fem- 
mes  et  d'animaux.  Le  titre  est  encadre  par  une  large  bordure  historiee  et 
sur  le  sur  le  verso  se  trouve  une  epitre  du  Zoppino :  A  gli  veruosi  Gioua- 
nini  et  gentilissime  Fanciulle.  Vente  Pirovano,  Rome,  1901.  Milan,  Cava- 
liere  Bertini. 

1957 —  Zoppino,  N. — Gli  universali  de  i  belli  Recami  antichi,  et  moderni;  etc. 
(49  pp.  of  lace  designs  and  titles.)  Venice,  1537.  (Facsimile  reprint.  On- 
gania,  Venice,  1876).   S.  K.  M.    Metro.  Mus. 

1958 —  Zoppino,  N. — Gli  Universali  de  i  belli  Recami  antichi  e  moderni  ne  i  quali 
un  pellegrino  ingegno,  si  di  huomo  come  di  donna,  potra  in  questra  nostra 
eta  con  Pago  uertuosamente  esercitar  si  non  anchora  da  alcuni  altri  dati 
in  luce.  49  designs  for  lace  work.  1537,  facsimile  reprint  Venice,  1877. 
Folio. 

 Zoppino. — See  Aristotile,  Nicolo  d\ 


INDEX  OF  BOBBIN  LACE  GROUNDS 
AND  FILLINGS 

 A  

PAGE 


Abruzzian  Lescatelle — Line  C,  Col.  16  .  131 

Abruzzian  Mezza  Cambruccia — Line  A,  Col.  16   90 

Abruzzian  or  Pescolane  Cross  Pattern — Line  B,  Col.  16   110 

Abruzzian  Piscitelli — Line  D,  Col.  16   150 

Abruzzian  " Point  and  Flat"— Line  H,  Col.  16   237 

Alost,  Square-meshed  Valenciennes  of  Bruges,  Ypres  and  (braided  4  or  4% 

times)— Line  D,  Col.  7   140 

Alost,  Square-meshed  Valenciennes  of  Ypres  and  (braided  5  or  5%  times) — 

Line  E,  Col.  7   161 

Antwerp;  Potten  Kant;  Flemish — Line  F,  Col.  4   180 

Armelle,  Thin  Cluny  Petals,  Leaves,  Armeletta,  Grains,  Seeds,  Wheat  Ears, 

Paddles— Line  C,  Col.  15   130 

Armeletta,  Thin  Cluny  Petals,  Leaves,  Armelle,  Grains,  Seeds,  Wheat  Ears, 

Paddles— Line  C,  Col.  15   130 

Araignees  Carrees  en  Tulle  Double,  Les — Line  H,  Col.  2   220 

Araignees  Bondes,  Les;  Bound  Spiders  in  Twice-twisted  Hole  Ground — 

Line  G,  Col.  2   199 

Arras ;  Tulle  Ground ;  Lille ;  Filoche ;  Fond  Clair ;  Fond  Simple ;  Brabant ; 

Trolly  Net;  Tondern;  Marche;  Point  de  Hollande;  Dutsche  Slag — 

Line  F,  Col.  3   179 

Arras :  see  also  Reseau  Simple — Line  G,  Col.  6   204 

 B  

Bailleul,    Bound-meshed    Valenciennes  of  Harlebeke,  Bruges,  Courtrai, 

(braided  4  times)  (often  twice,  Dentelle  episcopale) — Line  G,  Col.  11.  209 

Bar,  Hexagonal  Devonshire  Filling — Line  B,  Col.  9    102 

Bars  and  Cutworks,  "Bohemian  Edged' '  Devonshire — Line  D,  Col.  10   143 

Bars  and  Cutworks,  Devonshire  Winkie  Pin — Line  C,  Col.  10   124 

Binche,  Virgin  Ground,  Pin  Check,  Pink  Check,  Ornamental  Ground,  Cinq 

Trous,  Point  Carre— -Line  A,  Col.  2   71 

Binche  Mode— Line  E,  Col.  10   164 

Binche  Spiders,  Bound,  Open-eyed  Brabant,  Oeil  de  Perdrix,  Beseau  Bosace, 

Point  de  Flandre— Line  G,  Col.  4    201 

"Bohemian  Edged' '  Devonshire  Bars  and  Cutworks — Line  D,  Col.  10  143 

Bohemian  Ground — Line  G,  Col.  5    203 

403 


404  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

PAGE 


Brabant,  Arras,  Tulle  Ground,  Lille,  Filoche,  Fond  Clair,  Fond  Simple,  Trol- 
ly Net,  Tondern,  Marche,  Point  de  Hollande,  Dutsche  Slag — Line  F, 

Col.  3   179 

Brabant,  Binche  Spiders,  Eound,  Open-eyed,  Oeil  de  Perdrix,  Reseau  Ro- 
sace, Point  de  Flandre — Line  G,  Col.  4   201 

Brick,  Devonshire,  Mignonnette — Line  C,  Col.  8  .  122 

Brides,  Fond  de— Line  H,  Col.  3  221 

Bruges,    Round-meshed    Valenciennes  of  Harlebeke,  Bailleul,  Courtrai 

(braided  4  times)  (often  twice,  Dentelle  episcopale) — Line  G,  Col.  11.  209 
Bruges,  Square-meshed  Valenciennes  of  Alost,  Ypres  and  (braided  4  or  4% 

times)— Line  D,  Col.  7   140 

Bruges  (?),  Tulle  (2  twists)— Line  E,  Col.  3   157 

Brussels;  Droschel;  Vrai  Reseau  (fait  sans  epingles) ;  Drochel — Line  B, 

Col.  3   96 

Brussels;  Droschel;  Vrai  Reseau;  Point  d'Angleterre  Net;  Drochel — Line 

C,  Col.  3   117 

Buckingham :  see  also  Reseau  Simple — Line  G,  Col.  6   204 

Buratto;  Filet— Line  E,  Col.  5   159 

Byzantine,  Medici,  Florentine  Knots — Line  H,  Col.  13   234 

Chantilly;  Star  Mesh;  Double  Ground,  Point  de  Paris;  Point  de  Six;  Eter- 
nelle ;  Point  Double ;  Trenne ;  Fond    Chant;    Grammont;  Engelsche 

Grond— Line  A,  Col.  5   75 

Cinq  Trous ;  Binche ;  Virgin  Ground ;  Pin  Check ;  Pink  Check ;  Ornamental 

Ground;  Point  Carre — Line  A,  Col.  2   71 

Cluny,  Thin  Petals,  Leaves,  Armelle,  Armeletta,    Grains,    Seeds,  Wheat 

Ears,  Paddles— Line  C,  Col.  15   130 

Courtrai,   Round-meshed   Valenciennes   of  Bailleul,   Harlebeke,  Bruges, 

(braided  4  times)  (often  twice,  Dentelle  episcopale) — Line  G,  Col.  11.  209 
Courtrai,  Square-meshed  Valenciennes  of  Menin  and  (braided  3  or  3% 

times)— Line  C,  Col.  7   121 

Cross  Pattern,  Abruzzian  or  Pescolane — Line  B,  Col.  16   110 

Cushion,  Devonshire — Line  B,  Col.  8   101 

Cutwork  Net,  Devonshire — Line  G,  Col.  8   206 

Outworks,  "Bohemian  Edged' '  Devonshire  Bars  and — Line  D,  Col.  10  143 

Cutworks,  Devonshire  Winkie  Pin  Bars  and — Line  C,  Col.  10   124 

Cutworks,  Triangular,  Fan-shaped  Points  d'Esprits  or — Line  A,  Col.  15...  89 

 D  

Demi-Marguerites — Line  F,  Col.  15   194 

Demi-Point;  Net  Stitch,  Lattice  Ground,  Toile  Ouverte,  Point  Reseau — Line 

A,  Col.  1   70 

Dentelle  episcopale;  Round-meshed  Valenciennes  of  Harlebeke,  Bruges, 
Bailleul,  Courtrai  (braided  4  times)  (often  twice,  Dentelle  episcopale) 
—Line  G,  Col.  11   209 

Devonshire  Bars  and  Cutworks,  "Bohemian  Edged' ' — Line  D,  Col.  10.  ...  143 


INDEX  OF  BOBBIN  LACE  GROUNDS  AND  FILLINGS  405 

PAGE 

Devonshire  Brick;  Mignonnette — Line  0,  Col.  8   122 

Devonshire  Cushion — Line  B,  Col.  8   101 

Devonshire  Cutwork  Net— Line  G,  Col.  8   206 

Devonshire  Diamond  Filling — Line  A,  Col.  10   82 

Devonshire  Donble  Ground  Pin — Line  C,  Col.  9   123 

Devonshire  Four  Pearl  Filling — Line  A,  Col.  9   80 

Devonshire  Hexagonal  Bar  Filling — Line  B,  Col.  9   102 

Devonshire  Honeycomb  Filling — Line  E,  Col.  9   163 

Devonshire  Mignonnette;  Devonshire  Brick — Line  C,  Col.  8   122 

Devonshire  Pin  Filling — Line  A,  Col.  8   79 

Devonshire  Point  d 'Esprit  Net— Line  H,  Col.  8   227 

Devonshire  Second  Swing  Filling — Line  E,  Col.  8   162 

Devonshire  Swing  Filling;  Spot  Stitch— Line  F,  Col.  8   184 

Devonshire  Taunton — Line  D,  Col.  8   141 

Devonshire  Toad-in-the-Hole— Line  F,  Col.  10   187 

Devonshire  Wall  Filling— Line  G,  Col.  10   208 

Devonshire  Winkie  Pin  Bars  and  Cutworks — Line  C,  Col.  10   124 

Devonshire  Wire  Ground — Line  G,  Col.  9   207 

Diamond  Filling,  Devonshire — Line  A,  Col.  10   82 

Dice  Holes ;  Slanting  Hole— Line  B,  Col.  12   105 

Dieppe  Ground;  Twice-twisted  Hole  Ground;  Hole  Stitch  with  Twice- 
twisted  Thread;  Locherschlag  mit  Zweimal  gedrehten  Faden — Line 

H,  Col.  1   219 

Dieppe,  Petits  Pois  de — Line  E,  Col.  2   156 

Dieppe,  Tulle  de— Line  E,  Col.  1   155 

Dieppe  Three-Thread  Valenciennes — Line  F,  Col.  17   196 

Double  Ground;  Star  Mesh;  Chantilly;  Point  de  Paris;  Point  de  Six;  Eter- 
nelle;  Point  Double;  Trenne;  Fond  Chant;   Grammont;  Engelsche 

Grond — Line  A,  Col.  5   75 

Double  Ground  Pin,  Devonshire — Line  C,  Col.  9   123 

Double  Picots— Line  D,  Col.  15   149 

Droschel;  Brussels;  Vrai  Eeseau  (fait  sans  epingles)  ;  Drochel — Line  B, 

Col.  3   96 

Droschel;  Brussels;  Vrai  Eeseau;  Point  d'Angleterre  Net;  Drochel — Line  C, 

Col.  3   117 

Droschel  de  Bruxelles ;  Drochel — Line  D,  Col.  3   136 

Du  Puy  Point  de  Paris  Variation  or  Lock  Stitch;  Torchon  Mode — Line  H, 

Col.  6   225 

Du  Puy,  Tulle— Line  B,  Col.  1   94 

Dutsche  Slag;  Arras;  Tulle  Ground;  Lille;  Filoche;  Fond  Clair  ;  Fond  Sim- 
ple; Brabant;  Trolly  Net;  Tondern ;  Marche ;  Point  de  Hollande — Line 
F,  Col.  3   179 

 _E  

Einfacher  Gittergrund;  Plain  Lattice  Ground;  Filet — Line  D,  Col.  5  138 

Einfacher  Locherschlag;  Plain  Hole  Ground;   Torchon;   Eeseau  Stitch — 

Line  C,  Col.  1   114 


406 


A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 


PAGE 

Eisgrond,  Malines,  Mechlin,  Fond  de  Glace,  Ijsgrond — Line  A,  Col.  3   73 

Engelsche  Grond;  Chantilly;  Star  Mesh;  Double  Ground;  Point  de  Paris; 
Point  de  Six;  Eternelle;  Point  Double;  Trenne;  Fond  Chant;  Gram- 
mont — Line  A,  Col.  5   75 

Episcopale,  Dentelle ;  Bound-meshed  Valenciennes  of  Bailleul,  Harlebeke, 
Bruges,  Courtrai  (braided  4  times)  (often  twice,  Dentelle  episcopale) 
—Line  G,  Col.  11   209 

Eternelle;  Chantilly;  Star  Mesh;  Double  Ground;  Point  de  Paris;  Point  de 
Six ;  Point  Double ;  Trenne ;  Fond  Chant ;  Grammont ;  Engelsche 
Grond— Line  A,  Col.  5   75 

Eyeless  Spiders ;  Fond  de  Neige — Line  H,  Col.  4   222 

Fancy  Zeccatello,  A— Line  F,  Col.  12   190 

Fan-shaped,  Triangular  Points  d'Esprits  or  Outworks — Line  A,  Col.  15....  89 
Fat  Maltese  Petals,  Leaves,  Seeds,  Grains,  Wheat  Ears,  Paddles — Line  B, 

Col.  15   109 

Filet,  An  Italian— with  Toile  Dots— Line  D,  Col.  14   148 

Filet;  Buratto— Line  E,  Col.  5   159 

Filet;  Plain  Lattice  Ground;  Einfacher  Gittergrund — Line  D,  Col.  5   138 

Filet  ;  Un  Fond  Hollandais— Line  F,  Col.  5   181 

Filoche ;  Brabant ;  Arras ;  Tulle  Ground ;  Lille ;  Fond  Clair ;  Fond  Simple ; 
Trolly  Net;  Tondern;  Marche;  Point  de  Hollande;  Dutsche  Slag — 

Line  F,  Col.  3   179 

Fish  with  Two  Horizontal  Bars— Line  G,  Col.  16   214 

Five  or  Six  Sided  Milanese  Mesh— Line  H,  Col.  11   231 

Flemish;  Potten  Kant;  Antwerp — Line  F,  Col  4   180 

Flemish;  Trolle  Kant;  Fond  Armure,  Spinnekop — Line  D,  Col.  2   135 

Flemish  Filling,  A;  Lille  Mode,  A— Line  D,  Col.  4   137 

Flemish  Filling— Line  H,  Col.  9  ;   229 

Florentine,  Byzantine,  Medici  Knots — Line  H,  Col.  13   234 

Fond  Armure ;  Flemish ;  Trolle  Kant,  Spinnekop — Line  D,  Col.  2   135 

Fond  Chant;  Chantilly;  Star  Mesh;  Double  Ground;  Point  de  Paris;  Point 
de  Six ;  Eternelle ;  Point  Double ;    Trenne;    Grammont;  Engelsche 

Grond— Line  A,  Col.  5   75 

Fond  Chant  (Palliser) ;  Point  de  Paris;  Fond  Clair— Line  C,  Col.  11   125 

Fond  Clair;  Point  de  Paris;  Fond  Chant  (Palliser)— Line  C,  Col.  11  125 

Fond  Clair ;  Arras ;  Tulle  Ground ;  Lille ;  Filoche ;  Fond  Simple ;  Brabant ; 
Trolly  Net;  Tondern;  Marche;  Point  de  Hollande;  Dutsche  Slag — 

Line  F,  Col.  3   179 

Fond  de  Brides— Line  H,  Col.  3   221 

Fond  de  Glace;  Malines;  Mechlin;  Ijsgrond,  Eisgrond — Line  A,  Col.  3   73 

Fond  de  la  Vierge ;  Virgin  Ground ;  Ornamental  Ground;  Point  Carre — Line 

B,  Col.  2   95 

Fond  de  Milan;  Old  Buckingham— Line  C,  Col.  5   119 

Fond  de  Neige ;  Eyeless  Spiders — Line  H,  Col.  4   222 

Fond  de  Neige  ;  Punto  di  Neve— Line  A,  Col.  18   93 


INDEX  OF  BOBBIN  LACE  GROUNDS  AND  FILLINGS  407 

PAGE 

Fond  Hollandais,  Un;  Filet— Line  F,  Col.  5   181 

Fond  Simple ;  Arras ;  Tulle  Ground ;  Lille ;  Filoche ;  Fond  Clair ;  Brabant ; 
Trolly  Net;  Tondern;  Marche;  Point  de  Hollande;  Dutsche  Slag — 

Line  F,  Col.  3   179 

Four  Pearl  Filling,  Devonshire — Line  A,  Col.  9   80 

 G  

Gand,  Square-meshed  Valenciennes  of  Menin,  Ghent  or  (braided  2  or  2y2 

times)— Line  B,  Col.  7   100 

Gekreuzter  Gittergrund;  Lattice  Ground  (3  twists) — Line  B,  Col.  5   98 

Gelosia;  Eose  Ground;  Scandinavian  Ground;  Point  du  Mariage;  Tulle 

Double— Line  C,  Col.  4   118 

Genoese  Grilled  Six  Leaved  Marguerite — Line  C,  Col.  18   133 

Genoese,  or  Eeticello  Mode — Line  IT,  Col.  5   224 

Genre  Valenciennes ;  Tulle  de  Vienne — Line  G,  Col.  1   198 

German  or  Eussian  Torchon — Line  D,  Col.  12   145 

Ghent,  Square-meshed  Valenciennes  of  Menin,  Gand  or  (braided  2  or  2% 

times)— Line  B,  Col.  7   100 

Einfacher  Gittergrund ;  Plain  Lattice  Ground ;  Filet — Line  D,  Col  5  138 

Gekreuzter  Gittergrund;  Lattice  Ground  (3  twists) — Line  B,  Col.  5   98 

Grains,  Fat  Maltese  Petals,  Leaves,  Seeds,  Wheat  Ears,  Paddles — Line  B, 

Col.  15   109 

Grains,  Thin  Cluny  Petals,  Leaves,  Armelle,  Armeletta,  Seeds,  Wheat  Ears, 

Paddles— Line  C,  Col.  15   130 

Grammont;  Chantilly;  Star  Mesh;  Double  Ground;  Point  de  Paris;  Point 

de  Six;  Eternelle;  Point  Double;  Trenne;  Fond  Chant;  Engelsche 

Grond— Line  A,  Col.  5   75 

 H  

Harlebeke,  Eound-meshed  Valenciennes    of    Bruges,    Bailleul,  Courtrai, 

(braided  4  times)  (often  twice,  Dentelle  episcopale) — Line  G,  Col.  11.  209 

Hexagonal  Bar  Filling,  Devonshire — Line  B,  Col.  9   102 

Hollandais,  Un  Fond,  Filet— Line  F,  Col.  5   181 

Hole  Ground,  Plain,  Torchon;  Eeseau  Stitch;   Einfacher  Locherschlag — 

Line  C,  Col.  1   114 

Hole  Ground,  Twice-twisted,  Dieppe  Ground,  Hole  Stitch  with  Twice-twisted 

Thread,  Locherschlag  mit  zweimal  gedrehten  Faden — Line  H,  Col.  1.. .  219 

Hole  Ground,  Twisted,  Tulle  Double,  Maglia  di  Spagna — Line  D,  Col.  1  134 

Holes,  Dice ;  Slanting  Hole— Line  B,  Col.  12   105 

Hole,  Slanting;  Dice  Holes— Line  B,  Col.  12   105 

Hole  Stitch  with  Twice-twisted  Thread;   Dieppe   Ground;    Twice- twisted 
Hole  Ground ;  Locherschlag  mit  zweimal  gedrehten  Faden — Line  H, 

Col.  1   219 

Honeycomb  Filling,  Devonshire — Line  E,  Col.  9   163 

Honfleur,  Square-meshed  Valenciennes  of  (braided  1  or  iy2  times) — Line 

A,  Col.  7   77 


408 


A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 


PAGE 

Ijsgrond,  Malines,  Mechlin,  Fond  de  Glace,  Eisgrond — Line  A,  Col.  3   73 

Irish  Ground— Line  G,  Col.  13   211 

Italian  Filet  with  Toile  Dots,  An— Line  D,  Col.  14   148 

Italian  Gronnd,  A  Spotted— Line  B,  Col.  14   107 

Italian  Open-eyed,  Cable-like  Spiders — Line  F,  Col.  14   193 

Italian  Six  Legged  Spiders  with  Eibbons — Line  H,  Col.  14   235 

Italian  Spider  with  Eye,  An— Line  C,  Col.  14   129 

Italian  Spiders  with  Four  Twisted  Horizontal  Bars — Line  E,  Col.  14  171 

Italian  Spiders  with  Two  Horizontal  Bars — Line  G,  Col.  14   212 

Lattice  Gronnd;  Demi-Point;  Net  Stitch;  Toile  Ouverte;  Point  Beseau — 

Line  A,  Col.  1   70 

Lattice  Gronnd;  Gekreuzter  Gittergrund  (3  twists) — Line  B,  Col.  5   98 

Lattice  Gronnd,  Plain;  Einfacher  Gittergrund;  Filet — Line  D,  Col.  5  138 

Leaves,  Fat  Maltese  Petals,  Seeds,  Grains,  Wheat  Ears,  Paddles — Line  B, 

Col.  15  109 

Leaves,  Thin  Cluny  Petals,  Armelle,  Armeletta,  Grains,  Seeds,  Wheat  Ears, 

Paddles— Line  C,  Col.  15   130 

Lescatelle,  Abruzzian — Line  C,  Col.  16   131 

Lille;  Arras;  Tulle  Ground;  Filoche;  Fond  Clair;  Fond  Simple;  Brabant; 

Trolly  Net;  Tondern;  Marche;  Point  de  Hollande;  Dutsche  Slag — 

Line  F,  Col.  3   179 

Lille:  see  also  Reseau  Simple — Line  G,    Col.  6   204 

Lille  Jour,  A— Line  F,  Col.  9   185 

Lille  Mode,  A;  Flemish  Filling,  A.— Line  D,  Col.  4   137 

Locherschlag — Line  F,  Col.  6   182 

Locherschlag  mit  zweimal  gedrehten  Faden;  Dieppe  Ground;  Twice- twisted 

Hole  Ground;  Hole  Stitch  with  Twice-twisted  Thread— Line  H,  Col.  1.  219 
Lock  Stitch  or  Du  Puy  Point  de  Paris  Variation ;  Torchon  Mode — Line  H, 

Col.  6   225 

 M  

Maglia  di  Spagna ;  Eedina — Line  F,  Col.  1   177 

Maglia  di  Spagna;  Twisted  Hole  Ground;  Tulle  Double — Line  D,  Col.  1   134 

Malines ;  Mechlin ;  Ijsgrond ;  Fond  de  Glace,  Eisgrond — Line  A,  Col.  3   73 

Maltese,  Fat  Petals,  Leaves,  Seeds,  Grains,  Wheat  Ears,  Paddles — Line  B, 

Col.  15   109 

Marche;  Arras;  Tulle  Ground;  Lille;  Filoche;  Fond  Clair;  Fond  Simple; 
Brabant;  Trolly  Net;  Tondern,  Point  de  Hollande;  Dutsche  Slag — 

Line  F.  Col.  3   179 

Marche:  see  also  Reseau  Simple — Line  G,  Col.  6   204 

Marguerites  a  Centre  de  Toile— Line  E,  Col.  18   176 

Marguerites  a  Six  Petales  (one  sided  joint) — Line  E,  Col.  15   173 


INDEX  OF  BOBBIN  LACE  GROUNDS  AND  FILLINGS  409 

PAGE 

Marguerites  Centres  a  Huit — Line  G,  Col.  15   213 

Marguerites,  Demi  Line  F,  Col.  15   194 

Marguerites,  Genoese  Grilled  Six  Leaved — Line  C,  Col.  18   133 

Mechlin;  Marines ;  Ijsgrond;  Fond  de  Glace,  Eisgrond — Line  A,  Col.  3   73 

Medici,  Florentine,  Byzantine  Knots — Line  H,  Col.  13   234 

Menin,  Square-meshed  Valenciennes  of  Courtrai  and  (braided  3  or  Sy2 

times)— Line  C,  Col.  7   121 

Menin,  Square-meshed  Valenciennes  of  Ghent  or  Gand  and  (braided  2  or 

2%  times)— Line  B,  Col.  7   100 

Mezza  Cambruccia,  Abruzzian — Line  A,  Col.  16   90 

Mignonnette ;  Devonshire  Brick — Line  C,  Col.  8   122 

Milanese  Mesh,  Five  or  Six-Sided— Line  H,  Col.  11   231 

Mille  Pattes,  Les— Line  F,  Col.  2   178 

Moulinet— Line  B,  Col.  18   112 

 N  

Net  Stitch ;  Demi-Point ;  Lattice  Ground  Toile  Ouverte ;  Point  Reseau — Line 

A,  Col.  1   70 

 O  

Oeil  de  Perdrix,  Round,  Open-eyed,  Brabant,  Binche  Spiders,  Reseau  Ro- 
sace; Point  de  Flandre — Line  G,  Col.  4   201 

Old  Buckingham ;  Fond  de  Milan — Line  C,  Col.  5   119 

Open-eyed,  Round,  Brabant,  Binche  Spiders;    Oeil   de   Perdrix;  Reseau 

Rosace ;  Point  de  Flandre — Line  G,  Col.  4   201 

Ornamental  Ground;  Binche;  Virgin  Ground;  Pin   Check;   Pink  Check; 

Cinq  Trous ;  Point  Carre — Line  A,  Col.  2   71 

Ornamental  Ground;  Virgin  Ground;  Fond  de  la  Vierge;  Point  Carre — 

Line  B,  Col.  2   95 

Ornamental  Ground  with  Striped  Effect  in  Diagonal  Squares,  Ziergrund  mit 

Streifen-Musterung  in  Karo-Einteilung — Line  D,  Col.  6   139 

Ornamental  Ground  with  Zigzag  Diagonal  Stripes ;  Ziergrund  mit  Striefen- 

Musterung  in  'Zacken^Einteilung — Line  E,  Col.  6   160 

Paddles,  Fat  Maltese  Petals,  Leaves,  Seeds,  Grains,  Wheat  Ears — Line  B, 

Col.  15.   109 

Paddles,  Thin  Cluny  Petals,  Leaves,  Armelle,   Armeletta,    Grains,  Seeds, 

Wheat  Ears— Line  C,  Col.  15   130 

Pescolane  or  Abruzzian  Cross  Pattern — Line  B,  Col.  16   110 

Petals,  Fat  Maltese  Leaves,  Seeds,  Grains,  Wheat  Ears,  Paddles — Line  B, 

Col.  15   109 

Petals,  Thin  Cluny  Leaves,  Armelle,  Armeletta,  Grains,  Seeds,  Wheat  Ears, 

Paddles— Line  C,  Col.  15   130 


410  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

PAGE 

Petits  Pois  de  Dieppe— Line  E,  Col.  2   156 

Picots,  Double— Line  D,  Col.  15   149 

Picots,  Point  de  Tresse  with  Knotted— Line  E,  Col.  13   169 

Picots,  Point  de  Tresse  with  Plain — in  Side  J oints — Line  C,  Col.  13   128 

Picots,  Point  de  Tresse  with  Plain,  Side— (Line  D,  Col.  13   147 

Picots,  Point  de  Tresse  with  Plain — inLower  Joints — Line  B,  Col.  13   106 

Picots,  Valenciennes — Line  F,  Col.  13   192 

Pin  Check;  Binche;  Virgin  Ground;  Pink  Check;  Ornamental  Ground,  Cinq 

Trous ;  Point  Carre— Line  A,  Col.  2   71 

Pin  Filling,  Devonshire— Line  A,  Col.  8   79 

Pink  Check;  Binche;  Virgin  Ground;  Pin  Check;  Ornamental  Ground;  Cinq 

Trous ;  Point  Carre— Line  A,  Col.  2   71 

Piscitelli,  Abruzzian — Line  D,  Col.  16   150 

Plain  Hole  Ground;  Torchon;  Eeseau  Stitch ;  Einfacher  Locherschlag — Line 

C,  Col.  1   114 

Plain  Lattice  Ground;  Filet;  Einfacher  Gittergrund — Line  D,  Col.  5  138 

Plain  Side  Picots,  Point  de  Tresse  with— Line  D,  Col.  13   147 

Plain  Torchon  Spiders— Line  E,  Col.  4   158 

"  Point  a  la  Vierge"  nach  Slavischer  Art  ;  Slavonian  Style  Virgin  Point — 

Line  C,  Col.  6   120 

< ' Point  and  Flat,"  Abruzzian— Line  H,  Col.  16   238 

Point  Carre,  Binche;  Virgin  Ground;  Pin  Check;  Pink  Check,  Ornamental 

Ground;  Cinq  Trous — Line  A,  Col.  2   71 

Point  Carre;  Virgin  Ground;  Ornamental  Ground;  Fond  de  la  Vierge — 

Line  B,  Col.  2   95 

Point  d'Angleterre  Net;  Brussels;  Droschel;  Vrai  Eeseau;  Drochel — Line 

C,  Col.  3   117 

Point  d'Esprit  Net,  Devonshire— Line  H,  Col.  8  227 

Point  de  Flandre,  Pound,  Open-eyed  Brabant,  Binche  Spiders,  Oeil  de  Per- 

drix,  Eeseau  Eosace — Line  G,  Col.  4   201 

Point  de  Hollande ;  Arras ;  Tulle  Ground ;  Lille ;  Filoche ;  Fond  Clair,  Fond 

Simple;  Brabant;  Trolly  Net;  Tondern;   Marche;   Dutsche  Slag — 

Line  F,  Col.  3   179 

Point  de  Paris;  Chantilly;  Star  Mesh;  Double  Ground;  Point  de  Six;  Eter- 

nelle ;  Point  Double ;  Trenne ;  Fond    Chant ;    Grammont ;  Engelsche 

Grond— Line  A,  Col.  5   75 

Point  de  Paris;  Fond  Clair;  Fond  Chant  (Palliser)— Line  C,  Col.  11  125 

Point  de  Paris  Variation,  Du  Puy  or  Lock  Stitch ;  Torchon  Mode — Line  H, 

Col.  6   225 

Point  de  Paris  Variation  with  Tressed  Sides — Line  E,  Col.  11  166 

Point  de  Paris  Variation,  Eedina  or  Tulle  Double — Line  D,  Col.  11   144 

Point  de  Six ;  Chantilly ;  Star  Mesh ;  Double  Ground ;  Point  de  Paris ;  Eter- 

nelle ;  Point  Double ;  Trenne ;  Fond    Chant ;    Grammont ;  Engelsche 

Grond — Line  A,  Col.  5   75 

Point  de  Tresse  with  Knotted  Picots— Line  E,  Col.  13   169 

Point  de  Tresse  with  Plain  Side  Picots— Line  D,  Col.  13   147 

Point  de  Tresse  with  Plain  Picots  in  Lower  Joints — Line  B,  Col.  13.  ....   166 


INDEX  OF  BOBBIN  LACE  GROUNDS  AND  FILLINGS  411 

PAGE 

Point  de  Tresse  with  Plain  Picots  in  Side  Joints — Line  C,  Col.  13   128 

Point  Double,  Chantilly,  Star  Mesh,  Double  Ground,  Point  de  Paris,  Point  de 

Six,  Eternelle,  Trenne,  Fond  Chant,  Grammont,  Engelsche  Grond — 

Line  A,  Col.  5   75 

Point  du  Mariage;  Rose  Ground;  Scandinavian   Ground;   Gelosia;  Tulle 

Double— Line  C,  Col.  4   118 

Point  du  Mariage  fait  a  la  Torchon  au  Demi-Point — Line  A,  Col.  6   78 

Point  J eunet  ou  Genet ;  Scotch  Broom  Stitch ;  Ziergrund  mit  Schragstreif  en- 

Musterung— Line  C,  Col.  2   115 

Point  Reseau;  Net  Stitch;  Demi-Point;  Lattice  Ground;  Toile  Ouverte — 

Line  A,  Col.  1   70 

Points  d'Esprits,  Triangular,  Fan-Shaped  Outworks  or — Line  A,  Col.  15. . .  89 

Potten  Kant;  Flemish;  Antwerp— Line  F,  Col.  4   180 

Punto  di  Neve ;  Fond  de  Neige— Line  A,  Col.  18   93 

 R  

Redina ;  Maglia  di  Spagna — Line  F,  Col.  1    177 

Redina  or  Tulle  Double  Point  de  Paris  Variation — Line  D,  Col.  11   144 

Reseau  Rosace;  Round,  Open-eyed  Brabant,   Binche  Spiders;   Oeil  de 

Perdrix;  Point  de  Flandre— Line  G,  Col.  4   201 

Reseau  Simple,  Analogue  a  Celui  de  Lille,  d 'Arras,  de  Marche,  de  Tondern, 

de  Buckingham — Line  G,  Col.  6   204 

Reseau  Stitch ;  Plain  Hole  Ground ;  Torchon ;  Einf  acher  Locherschlag — Line 

C,  Col.  1   114 

Reseau,  Vrai  (fait  sans  epingles) ;  Brussels;  Droschel;  Drochel — Line  B, 

Col.  3   96 

Reseau,  Vrai;  Brussels;  Droschel;  Point  d'Angleterre  Net;  Drochel — Line 

C,  Col.  3   117 

Reticello  or  Genoese  Mode — Line  H,  Col  5   224 

Rose  Ground;  Scandinavian  Ground;  Point  du  Mariage;   Gelosia;  Tulle 

Double— Line  C,  Col.  4   118 

Round-meshed  Valenciennes  (singly  twisted  joint,  centuple  braid)  (Bruges 

has  triple  braid)— Line  G,  Col.  7   205 

Round-meshed  Valenciennes  of  Harlebeke,     Bruges,     Courtrai,  Bailleul 

(braided  4  times)  (often  twice,  Dentelle  episcopale) — Line  G,  Col.  11.  209 
Round,  Open-eyed,  Brabant,  Binche  Spiders;  Oeil  de  Perdrix;  Reseau  Ro- 
sace ;  Point  de  Flandre — Line  G,  Col.  4   201 

Round  Spiders  in  Twice-twisted  Hole  Ground  ;  Les  Araignees  Rondes — Line 

G,  Col.  2.   199 

Round  Valenciennes  (doubly  twisted  joint,  triple  braid) — Line  H,  Col.  7   226 

Russian  or  German  Torchon — Line  D,  Col.  12   145 

Scandinavian  Ground;  Rose  Ground;  Point  du  Mariage;   Gelosia;  Tulle 

Double— Line  C,  Col.  4.   118 

Scotch  Broom  Stitch ;  Point  J  eunet  ou  Genet ;  Ziergrund  mit  Schragstreif  en 

— Musterung— Line  C,  Col.  2   115 


412  A  LACE  GUIDE  FOR  MAKERS  AND  COLLECTORS 

PAGE 

Second  Swing  Filling,  Devonshire — Line  E,  Col.  8   162 

Seeds,  Fat  Maltese  Petals,  Leaves,  Grains,  Wheat  Ears,  Paddles, — Line  B, 

Col.  15   109 

Seeds,  Thin  Cluny  Petals,  Leaves,  Armelle,  Armeletta,  Grains,  Wheat  Ears, 

Paddles— Line  C,  Col.  15   130 

Six  or  Five  Sided  Milanese  Mesh— Line  H,  Col.  11   231 

Slanting  Hole ;  Dice  Holes— Line  B,  Col.  12   105 

Slavonian  Style  Virgin  Point,  ' ' Point  a  la  Vierge"  nach  Slavischer  Art — 

Line  C,  Col.  6   120 

Spagna,  Maglia  di,  Twisted  Hole  Ground ;  Tulle  Double — Line  D,  Col.  1.  . . .  134 

Spider,  An  Italian,  with  Eye— Line  C,  Col.  14   129 

Spiders,  Eyeless;  Fond  de  Neige — Line  H.  Col.  4   222 

Spiders  in  Twice-twisted  Hole  Ground,  Eound;   Les  Araignees   Kondes — 

Line  G,  Col.  2.   199 

Spiders,  Italian,  Open-eyed,  Cable-like — Line  F,  Col.  14   193 

Spiders,  Italian  Six-Legged,  with  Eibbons — Line  H,  Col.  14   235 

Spiders,  Italian,  with  4  twisted  Horizontal  Bars — Line  E,  Col.  14   171 

Spiders,  Italian,  with  2  horizontal  Bars — Line  G,  Col.  14   212 

Spiders,  Plain  Torchon — Line  E,  Col.  4   158 

Spiders,  Bound,  Open-eyed,  Brabant,  Binche;  Oeil  de  Perdrix;  Beseau  Bo- 

sace;  Point  de  Flandre — Line  G,  Col.  4   201 

Spinnekop;  Flemish;  Trolle  Kant;  Fond  Armure — Line  D,  Col.  2   135 

Spot  Stitch;  Devonshire  Swing  Filling— Line  F,  Col.  8   184 

Spotted  Italian  Ground,  A — Line  B,  Col.  14   107 

Square-meshed  Valenciennes  of  Alost  and  Ypres  (braided  5  or  5%  times) — 

LineE,  Col.  7   161 

Square-meshed  Valenciennes  of  Bruges,  Ypres  and  Alost  (braided  4  or  4% 

times)— Line  D,  Col.  7   140 

Square-meshed  Valenciennes  of  Courtrai  and  Menin  (braided  3  or  3%  times) 

—Line  C,  Col.  7   121 

Square-meshed  Valenciennes  of  Honfleur  (braided  1  or  l1/?  times) — Line  A, 

Col.  7  .   77 

Square-meshed  Valenciennes  of  Menin,  Ghent  or  Gand  (braided  2  or  2% 

times)— Line  B,  Col.  7   100 

Star  Mesh ;  Chantilly ;  Double  Ground ;  Point  de  Paris ;  Point  de  Six ;  Eter- 

nelle ;  Point  Double ;  Trenne ;  Fond    Chant ;    Grammont ;  Engelsche 

Grond— Line  A,  Col.  5   75 

"Sunspots"— Line  H,  Col.  12   232 

Swing  Filling,  Devonshire,  Spot  Stitch— Line  F,  Col.  8   184 

Swing  Filling,  Devonshire  Second — Line  E,  Col.  8   162 

Taunton,  Devonshire — Line  D,  Col.  8   141 

Thin,  Cluny  Petals,  Leaves,  Armelle,  Armeletta,  Grains,  Seeds,  Wheat  Ears, 

Paddles— Line  C,  Col.  15   130 

Toad-in-the-Hole,  Devonshire— Line  F,  Col.  10   187 


INDEX  OF  BOBBIN  LACE  GROUNDS  AND  FILLINGS  413 

PAGE 

Toile  Ouverte,  Net  Stitch;  Demi-Point;  Lattice   Ground;   Point  Reseau — 

Line  A,  Col.  1  .   70 

Tondern;  Arras;  Tulle  Ground;  Filoche;  Fond  Clair;  Fond  Simple;  Bra- 
bant; Trolly  Net;  Marche;  Point  de  Hollande;  Dutsche  Slag,  Lille — 

Line  F,  Col.  3   179 

Tondern:  see  also  Reseau  Simple — Line  G,  Col.  6   204 

Torchon— Line  E.  Col.  12   167 

Torchon  Mode,  Lock  Stitch  or  Du  Puy  Point  de  Paris  Variation — Line  H, 

Col.  6   225 

Torchon ;  Plain  Hole  Ground ;  Reseau  Stitch ;  Einf  acher  Locherschlag — Line 

C,  Col.  1   114 

Torchon,  Russian  or  German — Line  D,  Col.  12   145 

Torchon  Spiders,  Plain— Line  E,  Col.  4   158 

Trenne;  Chantilly;  Star  Mesh;  Double J  Ground ;  Point  de  Paris;  Point  de 
Six;  Eternelle;  Point  Double;  Fond  Chant;  Grammont;  Engelsche 

Grond— Line  A,  Col.  5   75 

Trentino— Line  A,  Col.  14   87 

Tresse,  Point  de,  with  Knotted  Picots—  Line  E,  Col.  13   169 

Tresse,  Point  de,  with  Plain  Picots  in  Lower  Joints — Line  B,  Col.  13  106 

Tresse,  Point  de,  with  Plain  Picots  in  Side  Joints — Line  C,  Col.  13  128 

Tresse,  Point  de,  with  Plain,  Side  Picots — Line  D,  Col.  13   147 

Tresses  with  Open  Hooked  Joints — Line  H,  Col.  17   239 

Triangular,  Fan-Shaped  Points  d'Esprits  or  Cutworks — Line  A,  Col.  15. . . .  89 

Trolle  Kant ;  Flemish ;  Fond  Armure ;  Spinnekop — Line  D,  Col.  2.  ....  135 

Trolly  Net;  Arras;  Tulle  Ground;  Lille;  Filoche;  Fond  Clair;  Fond  Simple; 
Brabant;  Tondern;  Marche;  Point  de  Hollande;  Dutsche  Slag — Line 

F,  Col.  3   179 

Trude  "A"  Ground  (original)  (American) — Line  A,  Col.  4.   74 

Trude  "B"  Ground  (original)  (American) — Line  B,  Col.  4   97 

Trude  "C"  Ground  (original)  (American) — Line  D,  Col.  9   142 

Trude  "D"  Ground  (original)  (American) — Line  A,  Col.  11   83 

Trude  "E"  Ground  (original)  (American) — Line  B,  Col.  11   104 

Trude  "F"  Ground  (original)  (American) — Line  F,  Col.  11.  ...    189 

Trude  "G"  Ground  (original)  (American) — Line  A,  Col.  12   84 

Trude  "H"  Ground  (original)  (American) — Line  C,  Col.  12   126 

Trude  "I"  Ground  (original)  (American) — Line  A,  Col.  13   85 

Trude  "J"  Ground  (original)  (American) — Line  H,  Col.  15   237 

Trude  "K"  Ground  (original)  (American) — Line  E,  Col.  16   174 

Trude  "L"  Ground  (original)  (American) — Line  F,  Col.  16   195 

Trude  "N"  Ground  (original)  (American) — Line  A,  Col.  17.   91 

Trude  "0"  Ground  (original)  (American) — Line  B,  Col.  17   Ill 

Trude  "P"  Ground  (original)  (American) — Line  C,  Col.  17   132 

Trude  "Q"  Ground  (original)  (American) — Line  D,  Col.  17   151 

Trude  "R"  Ground  (original)  (American) — Line  G,  Col.  17   215 

Trude  "S"  Ground  (original)  (American) — Line  D,  Col.  18   153 

Trude  "T"  Ground  (original)  (American)— Line  G,  Col.  18.   217 

Tulle  (Bruges?)  (2  twists)— Line  E,  Col.  3   157 


414  A  LACE  GUIDE  FOB  MAKERS  AND  COLLECTORS 

PAGE 

Tulle  (5  twists)— Line  G,  Col.  3   200 

Tulle  de  Dieppe— Line  E,  Col.  1   155 

Tulle  de  Vienne;  Genre  Valenciennes — Line  G,  Col.  1. \   198 

Tulle  Double  Done  on  the  Square— Line  F,  Col.  18   197 

Tulle  Double  or  Bedina  Point  de  Paris  Variation— Line  D,  Col.  11  144 

Tulle  Double;  Eose  Ground;  Scandinavian   Ground;   Point  du  Mariage; 

Gelosia— Line  C,  Col.  4   118 

Tulle  Double;  Twisted  Hole  Ground;  Maglia  di  Spagna — Line  D,  Col.  1.  . . .  134 

Tulle  Du  Puy— Line  B,  Col.  1   94 

Tulle  Ground;  Arras;  Lille;  Filoche;  Fond  Clair;  Fond  Simple;  Brabant; 
Trolly  Net;  Tondern;  Marche;  Point  de  Hollande;  Dutsche  Slag — 

Line  F,  Col.  3   179 

Twice- twisted  Hole  Ground ;  Dieppe  Ground ;  Hole  Stitch  with  Twice- twist- 
ed Thread ;  Locherschlag  mit  zweimal  gedrehten  Faden — Line  H,  Col. 

1   219 

Twice-twisted  Virgin  Point — mit  zweimal  gedrehtem  Schlusschlag — Line  B, 

Col.  6   99 

Twisted  Hole  Ground;  Tulle  Double;  Maglia  di  Spagna — Line  D,  Col.  1.  . . .  134 

Valenciennes,  Dieppe  Three-thread — Line  F,  Col.  17   196 

Valenciennes,  Genre ;  Tulle  de  Vienne — Line  G,  Col.  1   198 

Valenciennes  Mixte — Line  F,  Col.  7   183 

Valenciennes  Picots — Line  F,  Col.  13   192 

Valenciennes,  Bound  (doubly  twisted  joint,  triple  braid) — Line  H,  Col.  7.. .  226 
Valenciennes,  Bound-meshed  (singly  twisted  joint,  centuple  braid)  (Bruges 

has  triple  braid)— Line  G,  Col.  7   205 

Valenciennes,  Bound-meshed  of  Harlebeke,  Bruges,  Courtrai,  Bailleul  (braid- 
ed 4  times)  (often  twice,  Dentelle  episcopale) — Line  G,  Col.  11   209 

Valenciennes,  Square-meshed  of  Alost  and  Ypres  (braided  5  or  5%  times) — 

Line  E,  Col.  7   161 

Valenciennes,  Square-meshed  of  Bruges,  Ypres  and  Alost  (braided  4  or  4% 

times)— Line  D,  Col.  7   140 

Valenciennes,  Square-meshed  of  Courtrai  and  Menin  (braided  3  or  Sy2  times) 

—Line  C,  Col.  7   121 

Valenciennes,  Square-meshed  of  Honfleur  (braided  1  or  iy2  times) — Line  A, 

Col.  7   77 

Valenciennes,  Square-meshed  of  Menin,  Ghent  or  Gand  (braided  2  or  2% 

times)— Line  B,  Col.  7   100 

Vienne,  Tulle  de  ;  Genre  Valenciennes — Line  G,  Col.  1   198 

Virgin  Ground;  Ornamental  Ground;  Fond  de  la  Vierge ;  Point  Carre — Line 

B,  Col.  2   95 

Virgin  Ground;  Pin  Check;  Pink  Check;  Ornamental  Ground;  Binche;  Cinq 

Trous ;  Point  Carre — Line  A,  Col.  2   71 

Virgin  Point,  Slavonian  Style;    Point  a  la  Vierge"  nach  Slavischer  Art — 

Line  C,  Col.  6  '   120 


INDEX  OF  BOBBIN  LACE  GROUNDS  AND  FILLINGS  415 

PAGE 

Virgin  Point,  Twice-twisted — mit  zweimal  gedrehtem  Schlusschlag — Line  B, 

Col.  6   99 

Vrai  Eeseau  (fait  sans  epingles) ;  Brussels;  Droschel;  Drochel — Line  B, 

Col.  3   96 

Vrai  Eeseau;  Brussels ;  Droschel ;  Point  d'Angleterre  Net;  Drochel — Line  C, 

Col.  3   117 

 W  

Wall  Filling,  Devonshire— Line  G-,  Col.  10   208 

Wheat  Ears,  Fat  Maltese  Petals,  Leaves,  Seeds,  Grains,  Paddles — Line  B, 

Col.  15   109 

Wheat  Ears,  Thin  Cluny  Petals,  Leaves,Armelle,  Armeletta,  Grains,  Seeds, 

Paddles— Line  C,  Col.  15   130 

Winkie  Pin  Bars  and  Cutworks,  Devonshire — Line  C,  Col.  10   124 

Wire  Ground,  Devonshire — Line  G,  Col.  9   207 

Ypres,  Square-meshed  Valenciennes  of  Alost  and  (braided  5  or  5%  times) 

—Line  E,  Col.  7   161 

Ypres,  Square-meshed  Valenciennes  of  Bruges,  Alost  and  (braided  4  or  4% 

times)— Line  D,  Col.  7   140 

 Z  

Zeccatello— Line  G,  Col.  12   210 

Zeccatello,  A  Fancy— Line  F,  Col.  12   190 

Ziergrund  mit  Schragstreif en — Musterung,  Scotch  Broom  Stitch ;  Point  Jeu- 

net  ou  Genet — Line  C,  Col.  2   115 

Ziergrund  mit  Streifen  —  Musterung   in    Karo  —  Einteilung;  Ornamental 

Ground  with  Striped  Effect  in  Diagonal  Squares — Line  D,  Col.  6.  . . .  139 
Ziergrund  mit  Streifen — Musterung  in  Zacken  —  Einteilung ;  Ornamental 

Ground  with  Zigzag  Diagonal  Stripes — Line  E,  Col.  6   160 

Line  B,  Col.  10   103 

Line  E,  Col.  17   175 

Line  H,  Col.  10   230 

Line  H,  Col.  18.  (first)   241 

Line  H,  Col.  18.  (second)   242 


AN  INDEXED,  COMPARATIVE  SAMPLER  OF  145  BOBBIN  LACE  GROUNDS  AND  Fl(  I  impq 
MADE  TO  THE  SCALE  OF  NO  70  D.M.C.  LINEN  THREAD  AND  JOINED  BY  PILLOW-WROUGHT  BANDS  OP  r.  htm  ,t>^u 

MADE  IN  NEW  YORK,  1 9 1 2  - 1 7 1 7  °F  CL0TH-STITCH 


GETTY  RESEA RCH ||  j""'"^ 
^3  3125  01378  1451 


